ANTIQUE  CHINESE  OBJECTS  OF  ART 


COLLECTION 

OF 

GENERAL  HWANG  HSING 


v* 

% 


AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH 

I 

NEW  YORK 


The 

JAMES  A.  THOMAS 
COLLECTION 


DUKE  UNIVERSITY  LIBRARY 
DURHAM,  N.  C. 


Date  j  'fr' 

. 

lAh 


cUilCiC 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 
Duke  University  Libraries 


https://archive.org/details/illustratedcatal01amer_0 


ON  FREE  PUBLIC  VIEW 


AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH,  NEW  YORK 

BEGINNING  TUESDAY,  APRIL  25th,  1916 

AND  CONTINUING  UNTIL  THE  DATE  OF  SALE 


THE  COLLECTION  OF 

THE  CHINESE  CONNOISSEUR 

GENERAL  HWANG  HSING 

FIRST  PRESIDENT  OF  THE  CHINESE  REPUBLIC 


UNRESTRICTED  PUBLIC  SALE 

AT  THE  AMERICAN  ART  GALLERIES 

ON  MONDAY  AND  TUESDAY  AFTERNOONS 
MAY  1st  AND  2nd 
BEGINNING  AT  2.30  O’CLOCK 


ILLUSTRATED  CATALOGUE 

v  i 

OF 

ANTIQUE  CHINESE  PORCELAINS 
ENAMELS,  JADES,  CRYSTALS 
AGATES  AND 

RARE  OLD  CHINESE  PAINTINGS 


BELONGING  TO  THE  CHINESE  CONNOISSEUR 

GENERAL  HWANG  HSING 

FIRST  PRESIDENT  OF  THE  CHINESE  REPUBLIC 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 
ON  THE  AFTERNOONS  HEREIN  STATED 


THE  SALE  WILL  BE  CONDUCTED  BY 

MR.  THOMAS  E.  KIRBY 

AND  HIS  ASSISTANT,  MR.  OTTO  BERNET,  OF  THE 

AMERICAN  ART  ASSOCIATION,  Managers 

NEW  YORK 
1916 


112573 


THE  AMERICAN  ART  ASSOCIATION 
DESIGNS  ITS  CATALOGUES  AND  DIRECTS 
ALL  DETAILS  OF  ILLUSTRATION 
TEXT  AND  TYPOGRAPHY 


’TO'l.Tl 


(X  Sl'2-jx 


BIOGRAPHY  OF  HWANG  HSING 


Hwang  Hsing  was  born  in  1875  in  Hunan  Province,  near 
its  capital.  This  province  is  situated  in  the  central  portion 
of  China,  south  of  the  Yangtse  River.  From  its  beautiful 
hillsides  have  come  some  of  China’s  most  celebrated  gen¬ 
erals  and  statesmen,  among  whom  Hwang  Hsing  takes  sec¬ 
ond  place  to  none.  He  is  endowed  in  the  amplest  measure 
with  those  sterling  qualities  which  characterized  his  an¬ 
cestors.  During  youth  he  was  deeply  impressed  by  Western 
ideas.  Modern  learning  has  ever  had  an  advocate  in  him 
and  it  has  had  a  warm  place  in  his  heart.  He  studied  and 
graduated  with  honors  from  that  famous  college,  The  Leung 
Hu  Shih  Yuen,  established  under  the  auspices  of  Viceroy 
Chang  Chih-tung,  who  spared  nothing  to  equip  this  great 
State  College  of  the  two  Hu  Provinces  with  the  amplest 
facilities  for  the  study  of  European  and  American  arts  and 
sciences.  In  his  school  days  he  was  del  ighted  with  the  broad 
and  liberal  policies  of  the  West,  as  contrasted  with  Oriental 
lethargy  and  stagnation.  At  college  the  desire  seized  him 
to  reform  his  country,  and  henceforth  to  consecrate  himself 
to  the  elevation  of  his  people.  The  scepter  of  the  Empire 
of  China  had  fallen  to  the  Manchus,  who,  in  accordance 
with  their  despotic  policy,  were  anxious  to  keep  the  Chinese, 
the  Han  subjects,  in  ignorance  and  subjection;  they  resorted 
to  every  conceivable  pretext  to  hold  them  in  the  bonds  of 
lethargy.  Confucian  conservatism  was  an  enforced  study, 
while  the  liberal  and  progressive  doctrines  of  Western  peo¬ 
ple  were  discountenanced.  Christians  and  educated  men  of 
America  and  Europe  were  looked  upon  with  suspicion,  fear¬ 
ing  that  their  just  and  broad  principles  of  human  equity 
and  justice  might  leaven  the  loaf,  and  induce  a  rebellion 
against  their  narrow  and  enervating  policy.  The  Manchus 
favored  in  their  heart  of  hearts  every  manifestation  of  anti- 
foreign  movement  among  the  people,  and  allowed  such  out¬ 
rages  to  humanity  as  brought  scores  of  years  of  burden 


112573 


and  woe  to  the  Chinese,  as  witness  the  Boxer  outbreak. 
Corruption  was  widespread  and  real  talent  kept  down  on 
every  hand  through  the  jealous}'  of  their  rulers,  and  these 
deplorable  conditions  were  being  augmented  as  each  year 
rolled  b}  ',  so  that  the  people  were  writhing  under  the 
malignant  and  destructive  policy  of  their  rulers.  All  these 
facts  made  an  indelible  impression  on  the  mind  of  the  youth¬ 
ful  patriot  and  future  liberator  of  his  people.  He  had 
strong  convictions  that  the  time  had  passed  for  China  to 
again  bar  the  door  to  foreign  enterprise  and  intercourse, 
and  that  for  his  country  to  relapse  supinely  into  seclusion 
would  bring  final  disaster.  Thus  we  see  that  the  enlightened 
aims  and  lofty  ambitions  of  Hwang  Hsing  were  founded 
upon  solid  ground.  But  what  character,  spirit  and  enter¬ 
prise  do  we  find  in  him  to  assure  of  the  final  triumph? 

Nothing  speaks  more  forcibly  than  deeds.  Let  us  give 
a  short  and  concise  resume  of  his  enterprises  and  endeavors 
ere  venturing  to  prophesy  the  heights  which  Hwang  Hsing 
may  finally  reach. 

Upon  his  graduation  from  the  State  College  he  was 
imbued  with  an  intense  enthusiasm  to  reform  his  country ; 
and  to  carry  out  the  mighty  reforms  he  proposed,  he  ap¬ 
preciated  the  fact  that  he  must  have  the  co-operation  of 
many  compatriots,  who  would  lend  the  necessary  assistance. 
But  to  his  disappointment  he  found  lamentably  few  of  his 
fellow  men  who  were  willing  to  exert  themselves  to  further 
the  cause  that  was  burning  in  his  breast. 

Such  an  obstacle  would  have  depressed  a  less  man  than 
Hwang  Hsing.  Whole-souled  he  plunged  into  the  task  of 
infusing  into  his  associates  the  enthusiasm  which  in  him  had 
no  bounds.  He  went  to  Japan  to  meet  the  thousands  of 
Chinese  students  who  were  studying  there.  In  order  to 
come  into  closer  touch  with  the  students  he  matriculated 
at  the  Tokio  University.  He  lost  no  chance  to  associate 
with  every  person  of  worth  and  promise.  After  graduating 
from  the  University  lie  returned  to  Hunan  and  established 
the  Ming  Yuk  and  the  King  Ching  Schools,  over  which  he 
personally  presided.  The  names  given  to  these  schools  are 
characteristically  Chinese  and  suggestive,  the  first  meaning 


“Illustrious  Virtue,”  and  the  second  “Reformation.”  In  a 
remarkably  short  time  he  had  gathered  about  him  sufficient 
adherents  to  excite  the  jealous  and  vigilant  eye  of  the  Gov¬ 
ernment.  Henceforth,  he  was  persecuted  and  chased  from 
place  to  place.  To  a  man  less  courageous  such  persecu¬ 
tion  would  have  been  an  insuperable  barrier,  but  to  him  it 
was  only  an  incentive  to  more  active  and  drastic  measures. 

To  him  the  pointing  finger  of  Providence  was  plain. 
The  writing  on  the  wall  of  fate  clearly  proclaimed  that 
Despotism  must  perish  and  Democracy  win  the  day  in 
China.  Hwang  Hsing  was  henceforth  a  full-fledged  Revolu¬ 
tionist,  boldly  advocating  Republicanism  for  China.  He 
worked  steadfastly  to  increase  the  number  of  adherents  from 
the  gentry  and  military  classes  of  Hunan,  thus  courting 
the  order  for  his  arrest  by  the  Government.  In  1900  he 
had  to  flee  for  his  life  to  Shanghai.  In  Shanghai  he  was 
arrested,  but  upon  the  assumption  of  a  fictitious  name  he 
was  liberated  and  escaped  to  Japan.  Thrown  again  into  the 
field  of  his  former  labors,  we  find  him  giving  full  vent  to 
his  organizing  genius. 

Thus  far  he  had  had  to  face  a  nation  of  four  hundred 
millions  in  the  educational  field,  but  now  he  had  to  cope 
with  the  armed  forces  of  the  Chinese  Empire.  To  accom¬ 
plish  the  reformation  and  the  elevation  of  his  people  neces¬ 
sitated  the  sweeping  away  of  the  system  that  had  so  long 
obstructed  and  undermined  the  industrial  and  intellectual 
growth  of  the  nation.  He  realized  that  extensive  co-opera¬ 
tion  was  indispensable  to  the  herculean  task  he  had  set  him¬ 
self  to  perform.  The  ideal  ever  before  him  was  the  most 
civilized  revolution  possible.  He  desired  to  avoid  all  un¬ 
necessary  carnage  and  plunder.  In  order  to  accomplish 
the  overthrow  of  the  Manchus  by  a  comparatively  blood¬ 
less  revolution  he  organized,  first,  the  Tung  Ming  Hui  or 
the  “Association  of  Compatriots”;  second,  he  established 
and  edited  a  paper  named  The  Min  Pau,  or  The  Nationalist, 
for  the  purpose  of  leading  the  people  to  a  right  apprecia¬ 
tion  of  their  duties  as  citizens  and  in  order  to  be  able  to 
attack  the  corruption  and  evils  of  the  Manchu  regime. 
Third,  lie  organized  systematic  methods  of  working  and 


co-operating  with  the  military  classes  in  China,  never  fail¬ 
ing  to  urge  them  to  show  to  the  world  that  China  could 
conduct  a  thoroughly  civilized  Revolution,  through  which 
foreign  residents  and  non-combatants  were  held  sacred  and 
inviolable.  And,  in  anticipation  of  the  personal  part  that 
he  must  play  in  the  great  drama,  he  applied  himself  with 
assiduous  zeal  to  the  study  of  military  tactics  under  military 
officers  in  Japan.  He  made  a  special  study  of  the  manu¬ 
facture  of  explosives  and  implements  of  war,  and  also  or¬ 
ganized  the  Chun-Sze  Pin  Tsau  Pu,  or  “The  Deliberating 
Council  of  Military  Affairs,”  which  embraced  among  its 
members  most  of  the  military  talent  of  “Young  China.” 

About  this  time  Dr.  Sun  Yat-sen  arrived  in  Japan  from 
Europe.  Hwang  Hsing  found  him  very  congenial  and  in 
hearty  sympathy  with  his  plans.  With  characteristic 
Chinese  courtesy,  Hwang  Hsing  urged  Sun  Yat-sen  to  be¬ 
come  the  President  of  their  Association,  while  he  himself 
acted  as  its  Vice-President.  Very  soon  the  Association 
could  count  among  its  members  nearly  all  the  University  and 
College  Chinese  graduates  of  Europe,  America  and  Japan. 
Sympathy  for  the  movement  spread  far  and  wide,  not  only 
within  the  confines  of  China,  but  among  Chinese  of  every 
clime.  Henceforth,  every  editor  and  every  instructor  of 
importance  was  lined  up  with  Hwang  Hsing  and  his  or¬ 
ganization,  and  began  to  preach  and  reiterate  the  need  for 
Change,  Reform  and  Progress,  if  their  Fatherland  was  to 
be  saved.  The  Manchu  Dynasty  was  shaken  to  the  very 
Throne;  but  instead  of  turning  from  the  errors  of  its  way 
and  carrying  out  the  Reforms  that  the  people  demanded, 
the  Government  set  for  its  task  the  ruthless  and  total  an¬ 
nihilation  of  the  Reformers.  It  is  indeed  deplorable  that 
so  many  of  the  brightest  minds  paid  the  penalty  of  their 
patriotic  zeal  by  forfeiting  their  heads  and  to-day  fill  a 
patriot’s  grave.  Thus  far  the  Reformers  had  relied  upon 
the  pen  as  their  weapon,  while  the  Government  replied  with 
whetted  swords  and  whizzing  bullets.  But  the  time  of 
reckoning  was  fast  approaching! 

To  whom  belongs  the  honor  of  holding  and  swaying  the 
multitude?  By  whose  determination  and  power  have  the 


vast  millions  of  China  chiefly  been  prepared  for  the  great 
transforming  scene  that  the  world  has  just  witnessed?  Of 
one  man  it  can  be  said  (as  Gladstone  said  of  Washington) 
that  if  among  all  the  pedestals  supplied  by  the  recent  history 
of  the  Chinese  Revolution  for  character  of  extraordinary 
ability,  elevation  of  purpose,  patriotism  and  untiring  effort, 
one  is  higher  than  all  the  rest,  it  is  the  pedestal  raised  to 
the  honor  of  Hwang  Hsing.  An  examination  of  this  man’s 
history  helps  greatly  to  answer  those  perplexing  questions 
about  the  future  of  the  new-born  Republic,  for  in  him  the 
destiny  of  China  is  wrapped  up. 

People  of  the  West  may  have  heard  of  Hwang  Hsing  as 
the  defeated  General  of  Nanking  who  led  “The  Punitive 
Expedition  Against  Yuan  Shi-kai,”  but  the  world  has  not 
heard  that  he  was  the  towering  figure,  the  life  and  main¬ 
spring  of  the  movement  that  dethroned  the  Manchu  Em¬ 
peror  and  uprooted  that  despotic  rule  from  the  Flowery 
Kingdom.  The  retreat  of  Hwang  Hsing  from  Nanking  was 
as  “Xenophon’s  retreat  of  ten  thousand,  outshining  the 
conquest  of  Alexander;”  as  the  retreat  of  Sir  John  Moore 
to  Corunna  as  compared  with  the  victories  of  Wellington; 
certainly  far  more  glorious  was  it  than  the  wanton  devas¬ 
tation  and  the  scourging  of  his  Fatherland  by  Yuan  Shi-kai. 
— From  “ A  Revelation  of  the  Chinese  Revolution by  John 
J.  Mbllowney. 


CONDITIONS  OF  SALE 

1.  Any  bid  which  is  merely  a  nominal  or  fractional  advance 
may  be  rejected  by  the  auctioneer,  if,  in  his  judgment,  such  bid 
would  be  likely  to  affect  the  sale  injuriously. 

2.  The  highest  bidder  shall  be  the  buyer,  and  if  any  dis¬ 
pute  arise  between  two  or  more  bidders,  the  auctioneer  shall  either 
decide  the  same  or  put  up  for  re-sale  the  lot  so  in  dispute. 

3.  Payment  shall  be  made  of  all  or  such  part  of  the  pur¬ 
chase  money  as  may  be  required,  and  the  names  and  addresses 
of  the  purchasers  shall  be  given  immediately  on  the  sale  of  every 
lot,  in  default  of  which  the  lot  so  purchased  shall  be  immediately 
put  up  again  and  re-sold. 

Payment  of  that  part  of  the  purchase  money  not  made  at 
the  time  of  sale  shall  be  made  within  ten  days  thereafter,  in 
default  of  which  the  undersigned  may  either  continue  to  hold  the 
lots  at  the  risk  of  the  purchaser  and  take  such  action  as  may  be 
necessary  for  the  enforcement  of  the  sale,  or  may  at  public  or 
private  sale,  and  without  other  than  this  notice,  re-sell  the  lots 
for  the  benefit  of  such  purchaser,  and  the  deficiency  (if  any) 
arising  from  such  re-sale  shall  be  a  charge  against  such  purchaser. 

4.  Delivery  of  any  purchase  will  be  made  only  upon  pay¬ 
ment  of  the  total  amount  due  for  all  purchases  at  the  sale. 

Deliveries  will  be  made  on  sales  days  between  the  hours  of 
9  A.  M.  and  1  P.  M.,  and  on  other  days — except  holidays — between 
the  hours  of  9  A.  M.  and  5  P.  M. 

Delivery  of  any  purchase  will  be  made  only  at  the  American 
Art  Galleries,  or  other  place  of  sale,  as  the  case  may  be,  and 
only  on  presenting  the  bill  of  purchase. 

Delivery  may  be  made,  at  the  discretion  of  the  Association, 
of  any  purchase  during  the  session  of  the  sale  at  which  it  was  sold. 

5.  Shipping,  boxing  or  wrapping  of  purchases  is  a  business 
in  which  the  Association  is  in  no  wise  engaged,  and  will  not  be 
performed  by  the  Association  for  purchasers.  The  Association 
will,  however,  afford  to  purchasers  every  facility  for  employing 
at  current  and  reasonable  rates  carriers  and  packers;  doing  so, 
however,  without  any  assumption  of  responsibility  on  its  part 
for  the  acts  and  charges  of  the  parties  engaged  for  such  service. 

6.  Storage  of  any  purchase  shall  be  at  the  sole  risk  of  the 
purchaser.  Title  passes  upon  the  fall  of  the  auctioneer's  hammer, 
and  thereafter,  while  the  Association  will  exercise  due  caution  in 
caring  for  and  delivering  such  purchase,  it  will  not  hold  itself 
responsible  if  such  purchase  be  lost,  stolen,  damaged  or  destroyed. 


Storage  charges  will  be  made  upon  all  purchases  not  removed 
within  ten  days  from  the  date  of  the  sale  thereof. 

7.  Guarantee  is  not  made  either  by  the  owner  or  the  Asso¬ 
ciation  of  the  correctness  of  the  description,  genuineness  or 
authenticity  of  any  lot,  and  no  sale  will  be  set  aside  on  account 
of  any  incorrectness,  error  of  cataloguing,  or  any  imperfection 
not  noted.  Every  lot  is  on  public  exhibition  one  or  more  days 
prior  to  its  sale,  after  which  it  is  sold  “as  is”  and  without  recourse. 

The  Association  exercises  great  care  to  catalogue  every  lot 
correctly,  and  will  give  consideration  to  the  opinion  of  any  trust¬ 
worthy  expert  to  the  effect  that  any  lot  has  been  incorrectly 
catalogued,  and,  in  its  judgment,  may  either  sell  the  lot  as  cata¬ 
logued  or  make  mention  of  the  opinion  of  such  expert,  who  thereby 
would  become  responsible  for  such  damage  as  might  result  were 
his  opinion  without  proper  foundation. 


AMERICAN  ART  ASSOCIATION, 

American  Art  Galleries, 
Madison  Square  South, 

New  York  City. 


CATALOGUE 


LIST  OF  CHINESE 

DYNASTIES 

HSIA  DYNASTY 

2205—1766  B.C. 

SHANG  DYNASTY 

1766—1122  B.C. 

CHOU  DYNASTY 

1122—  255  B.C. 

TS’IN  DYNASTY 

255—  206  B.C. 

HAN  DYNASTY 

B.C.  206—  221  A.D. 

THREE  KINGDOMS 

221—  265  A.D. 

TSIN  DYNASTY 

265—  420  A.D. 

SIX  KINGDOMS 

420—  618  A.D. 

T’ANG  DYNASTY 

618—  907  A.D. 

FIVE  DYNASTIES 

907—  960  A.D. 

LIAO  DYNASTY  j 

f  907—1168  A.D. 

J 

r 

KIN  DYNASTY  J 

[  1115—1260  A.D. 

SUNG  DYNASTY 

960—1280  A.D. 

YUAN  DYNASTY  (Mongol) 

1280—1368  A.D. 

MING  DYNASTY 

1368—1644  A.D. 

CHTNG  DYNASTY  (Manchu) 

1644—1911  A.D. 

FIRST  AFTERNOON’S  SALE 


MONDAY,  MAY  1,  1916 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  2.30  O’CLOCK 


SNUFF  BOTTLES 

1 — Two  Small  Snuff  Bottles  ( Ch'ien-lung ) 
Porcelain.  Decorated  in  enamel  colors. 


2 —  Two  Decorated  Snuff  Bottles  ( Ch'ien-lung ) 
Porcelain.  One,  cylindrical  shape,  with  figures  in 
enamel  colors ;  the  other,  flattened  shape,  with  deity 
and  poem  in  coral  red  and  hlack. 

3—  Two  Porcelain  Snuff  Bottles  ( Cli'ien-lung ) 
Decoration  of  figures,  fabulous  monsters  and  garden 
scene  painted  in  the  enamel  colors  of  the  famille  rose. 

4 —  Two  Porcelain  Snuff  Bottles  ( Ch'ien-lung ) 
Garden  scenes  and  mythological  monsters  painted  in 
enamel  colors. 


5 — Two  Porcelain  Snuff  Bottles  ( Ch'ien-lung ) 

One,  flattened  shape,  with  figures  and  pine  tree  in  bril¬ 
liant  underglaze  blue,  and  the  other  decorated  in 
enamel  colors,  with  grasshopper  and  beetle. 


First  Afternoon 


6 —  Two  Porcelain  Snuff  Bottles  (Ch’ien-lung) 

One,  decorated  with  Shoki  and  Imps  in  coral  red, 
the  other  with  fishes  modeled  in  relief  and  decorated 
in  coral  red. 

7 —  Two  Composition  Snuff  Bottles  (Ch’ien-lung) 
Brilliant  red  resembling  the  comb  of  a  crane. 


8 —  Two  Porcelain  Snuff  Bottles  (Ch’ien-lung) 

One  decorated  with  the  “Hundred  Children,”  the 
other  with  Hundred  Shou  symbols  in  coral  red. 

9 —  Two  Porcelain  Snuff  Bottles  (Tao  Kuang) 
Decorated  in  enamel  colors,  one  with  Pekin  dogs, 
plants  and  aquatic  birds,  the  other  with  boating 
scene  and  Pekin  dogs. 

10 — Two  Porcelain  Snuff  Bottles  (Tao  Kuang) 

One  decorated  with  landscape  and  mountain  scenery 
in  rouge-cle-cuivre,  the  other  decorated  in  enamel  col¬ 
ors  with  garden  scene  and  mandarin  figures  playing 
games. 


First  Afternoon 


11—  — Two  Porcelain  Snuff  Bottles  ( Too  Kuang ) 

One  flattened  shape,  decorated  with  gold  fishes  painted 
in  coral  red;  the  other  oviform  with  kylin  sporting 
with  a  brocade  ball  penciled  in  coral  red. 

12 —  Two  Cylindrical  Snuff  Bottles  ( Ch’ien-lung ) 

One  decorated  with  mythical  figures  in  underglaze 
blue  of  sea  animals  on  a  background  of  sea  waves  in 
copper  red,  the  other  with  dragon  and  cloud  forms 
in  sang-de-boeuf  tint. 

13 —  Two  Composition  Snuff  Bottles  ( Ch’ien-lung ) 

One  flattened  shape,  coated  with  a  brilliant  red ;  the 
other  beautifully  mottled  to  resemble  the  color  of 
a  pomegranate. 

14 —  Decorated  Porcelain  Snuff  Bottle  (Ch’ien-lung) 
Lapis-blue  glaze,  with  two  white  panels  which  are 
decorated  with  plants  and  birds  in  various  enamel 
colors. 


First  Afternoon 


15 — Porcelain  Snuff  Bottle  ( Ch'ien-lung ) 

Coated  with  a  camellia-leaf  green  glaze  which  is 
minutely  crackled. 


16 — Porcelain  Snuff  Bottle  ( Ch'ien-lung ) 
Coated  with  a  turquoise-blue  glaze. 


No.  17 


No.  18 


17 — Cylindrical  Snuff  Bottle  ( Cli'ien-lung ) 

Mandarin  figures  and  garden  scene  penciled  in  un¬ 
derglaze  blue  and  rouge-de-fer. 


18 —  Twin  Snuff  Bottle  ( Ch'ien-lung ) 

One  white,  the  other  blue;  both  decorated  with  gold. 

19 —  Two  Miniature  Snuff  Bottles  ( Ch'ien-lung ) 

One  of  mottled  brown  amber,  highly  polished;  the 
other  of  sapphire  blue  glass. 


First  Afternoon 


20 — Two  Porcelain  Snuff  Bottles  ( Cli'ien-lung ) 

Of  the  famous  Ku  Yuet  Hsien  manufacture;  deco¬ 
rated  with  landscapes  and  river  views. 


21 —  Large  Porcelain  Snuff  Bottle  ( Ch’ien-lung ) 
Decorated  in  copper  red,  on  a  pale  celadon  ground, 
with  landscape,  mountain  scenery  and  river  view. 

22 —  Large  Porcelain  Snuff  Bottle  ( Ch'ien-liing ) 
Decorated  with  designs  of  plants  and  birds  approved 
and  used  by  the  Llamas  of  Thibet. 


2.‘3 — Large  Porcelain  Snuff  Bottle  ( Shun  Chi) 

Figures  of  game  cocks,  painted  in  underglaze  blue. 


First  Afternoon 


PEKIN  GLASS,  AMBER,  JADE  AND  OTHER 
HARD  STONE  SNUFF  BOTTLES 

24 —  Two  Glass  Snuff  Bottles  ( Ch’ien-lung ) 

One,  brown  color,  with  coins  and  lizards  in  relief  in 
white,  green  and  black;  the  other  in  imitation  of 
mutton-fat  jade. 

25 —  Two  Pekin  Glass  Snuff  Bottles  ( Ch’ien-lung ) 

In  imitation  of  mutton-fat  jade.  Surfaces  of  both 
of  carved  basket  pattern. 

26 —  Two  Pekin  Glass  Snuff  Bottles  (Ch’ien-lung) 
One  sapphire  blue,  the  other  emerald  green. 

27 —  Mother-of-pearl  Snuff  Bottle  (Ch’ien-lung) 
Carved  decoration  of  lotus  plant. 

28—  Two  Glass  Snuff  Bottles 

One  white,  with  deer  and  other  symbols  of  longevity 
in  red ;  the  other  in  imitation  of  amber,  with  peaches, 
pomegranates  and  bats  in  relief  in  yellow,  red  and 
green. 

29 —  Two  Agate  Snuff  Bottles  (Ch’ien-lung) 

One  mottled  brown,  the  other  mottled  clair-de-lune. 

30 —  Two  Snuff  Bottles 

One  clear  white  rock-crystal,  the  other  smoke  crystal. 
Both  highly  polished. 

31 —  Two  Pekin  Glass  Snuff  Bottles 

One  rose  pink,  the  other  in  imitation  of  yellow  amber. 


First  Afternoon 


32 —  Two  Glass  Snuff  Bottles  ( Ch'ien-lung ) 

One  in  imitation  of  rock-crystal,  with  dragons  mot¬ 
tled  in  relief  in  red;  the  other  in  imitation  of  brown 
agate,  with  ornamentation  mottled  in  relief  in  green, 
pink  and  black. 

33 —  Two  Pekin  Glass  Snuff  Bottles  (Ch’ien-lung) 
Ruby-red  color.  One  with  cut  surface. 


34 —  Two  Camphor  Glass  Snuff  Bottles 

One  decorated  in  relief  with  squirrels  and  grapevine 
in  gray  and  black ;  the  other  with  blossoming  prunus 
and  blooming  peony,  modeled  in  high  relief. 

35 —  Two  Pekin  Glass  Snuff  Bottles 
One  sapphire  blue,  the  other  ruby  red. 

36 —  Two  Pekin  Glass  Snuff  Bottles 

One  in  imitation  of  amethyst,  with  floral  scrolls,  mod¬ 
eled  in  relief;  the  other  in  imitation  of  imperial  jade, 
highly  polished. 


First  Afternoon 


37 —  Two  Pekin  Glass  Snuff  Bottles  (Ch’ien-lung) 
One  rose  pink,  decorated  with  raised  black  glass  in 
designs  of  prunus,  deer  and  a  stork ;  the  other  cam¬ 
phor  glass,  with  dragons,  and  handles  modeled  in 
relief  in  ruby  red. 

38 —  Two  Pekin  Glass  Snuff  Bottles  ( Ch’ien-lung ) 
One  milk-white  glass,  with  mystical  designs  of  divina¬ 
tion  in  sapphire  blue  and  modeled  in  relief;  the  other 
of  camellia-leaf  green  of  opaque  quality. 

39 —  Two  Pekin  Glass  Snuff  Bottles 

One  in  imitation  of  mottled  green  jade,  the  other  in 
imitation  of  gray  agate. 

40 —  Cloisonne  Enamel  Snuff  Bottle  ( Ch’ien-lung ) 
Floral  designs  of  various  colors  on  a  turquoise-blue 
ground. 


First  Afternoon 


41 —  Unique  Gray  Coral  Snuff  Bottle  ( Ch’ien-lung ) 
Polished  surface,  showing  the  coral  formation. 

42 —  Amber  Snuff  Bottle  ( Ch’ien-lung ) 

Crudely  shaped,  of  golden  brown  color,  with  highly 
polished  surface. 

43 —  Black  Rock-crystal  Snuff  Bottle  ( Cli'ien-lung ) 
Tall  shape,  with  cut  edges;  highly  polished  surface. 

44 —  Unique  Rock-crystal  Snuff  Bottle  ( Cli’ien-lung ) 
With  h  airlike  formation  beautifully  disposed  on  one 
side,  and  the  reverse  of  clear  crystal.  Has  coral 
stopper  with  pearl  setting. 

45 —  Black  Rock-crystal  Snuff  Bottle  ( Cli'ien-lung ) 
On  one  side  a  branch  of  prunus  blossoms  carved  in 
low  relief. 

46 —  Agate  Snuff  Bottle  ( Cli'ien-lung ) 

Beautifully  striated  bluish  gray.  Has  coral  stopper. 

47 —  Rock-crystal  Snuff  Bottle  ( Ch’ien-lung ) 
Decorated  with  peonies  and  magnolia  flowers  and 
plants  carved  in  low  relief. 

48 —  Large  Rock-crystal  Snuff  Bottle  (Ch’ien-lung) 
Two  monster-head  and  ring  handles  carved  in  relief. 
Highly  polished  surface. 

49 —  Agate  Snuff  Bottle  (Cli’ien-lung) 

Amber  color.  Peonies  carved  in  low  relief. 

50 —  Carnelian  Snuff  Bottle  (Cli'ien-lung) 

In  design  of  a  melon,  with  vine  and  butterfly  carved 
in  low  relief. 


First  Afternoon 


51 —  Small  Agate  Sxuff  Bottle  ( Ch’ien-lung ) 

Carved  in  the  shape  of  a  melon,  with  segments.  The 
color  and  shape  suggests  the  preserved  fruit.  Has 
fei-t’sui  stopper  in  shape  of  a  frog. 

52 —  Agate  Sxuff  Bottle  ( Ch’ien-lung ) 

Grayish  yellow,  decorated  with  lotus  plant  and  frog 
in  low  relief  in  the  green  matrix.  Has  turquoise 
stopper. 

53 —  Agate  Sxuff  Bottle  ( Ch’ien-lung ) 

In  dark  brown  and  yellow.  Highly  polished  surface. 

51 — Agate  Sxuff  Bottle  ( Ch’ien-lung ) 

Brown  and  gray;  lotus  plant  and  lion’s  head  and 
ring  handles  carved  in  low  relief. 

55 —  Gray  Agate  Sxuff  Bottle  (Ch’ien-lung) 

Decorated  with  carved  designs  of  rockery,  lotus 
plants  and  pine  tree.  Unpolished  surface.  Has  car- 
nelian  stopper. 

56 —  Gray  Agate  Sxuff  Bottle  (Ch’ien-lung) 

With  dark  brown  markings  and  decoration  of  birds 
and  mosses  in  similar  color. 

57 —  Large  Agate  Sxuff  Bottle  (Ch’ien-lung) 
Resembling  yellow  amber.  Two  handles  in  design  of 
monster-head  and  rings  carved  in  low  relief.  Imitation 
fei-t’sui  stopper. 

58 —  Rock-crystal  Sxuff  Bottle  (Ch’ien-lung) 
Decorated  with  peonies  and  a  cat  cut  in  high  relief 
in  the  white  matrix.  On  the  reverse  and  ends,  carved 
in  low  relief,  are  pine-tree  branches.  Has  amethyst 
stopper. 


First  Afternoon 


59 — Unique  Smoky-quartz  Snuff  Bottle  ( Ch’ien-lung ) 
The  interior  lias  been  intricately  painted  through  the 
minute  aperture  with  an  undersea  scene  of  gold  fishes, 
and  other  species  of  fishes,  sea  plants  and  mosses  in 
natural  colors.  A  poem  in  Chinese  writing  is  by 
Mung  Tze  Shau,  a  great  eunuch.  On  the  outer  sur¬ 
face,  carved  in  low  relief,  are  two  bats  and  fungus, 
the  symbols  of  longevity.  Two  handles  on  the  sides 
are  in  design  of  lions’  heads  and  rings.  Has  pink 
quartz  stopper. 


First  Afternoon 


60 —  Ax  Imperial  Han  Jade  Snuff  Bottle  ( Han  Dy¬ 

nasty) 

An  authentic  specimen  of  the  period.  Flat  cylindrical 
shape.  Showing  the  ferruginous  transformation  of 
an  original  white  jade  from  being  buried  with  a 
notable  person  during  the  Han  Dynasty,  about  221 
B.C.  to  226  A.D.  Carved  on  one  side  with  the  sun 
and  the  Chinese  inscription  “Iviang  Shan  Ye  Dai,” 
meaning  that.  “China  shall  be  everlasting  as  the  sun.” 
On  the  other  side  are  carved  a  mountain  and  the  ocean, 
with  the  inscription  “Shan  Shau  Fu  Hai,”  meaning 
“Prosperity  as  great  as  the  mountain  and  blessings 
as  expansive  as  the  sea.” 

61 —  White  Jade  Pebble  Snuff  Bottle  ( Ch’ien-lung ) 
Mutton-fat  texture.  Has  pink  quartz  stopper. 

62 —  White  Jade  Pebble  Snuff  Bottle  ( Ch'ien-lung ) 
With  reddish  mottle  on  one  side. 

63 —  Jade  Pebble  Snuff  Bottle  ( Ch'ien-lung ) 
Mutton-fat.  With  patches  of  the  yellow-red  oxidized 
exterior  giving  an  interesting  effect. 

r 

64 —  Mutton-fat  Jade  Snuff  Bottle  ( Cli'ien-lung ) 
Very  thin  flattened  bottle  shape.  Jeweled  green  jade 
and  metal  stopper. 

B5 — White  Jade  Snuff  Bottle  ( Ch’ien-lung ) 

Mutton-fat  texture.  Canteen  shape.  Highly  pol¬ 
ished  surface.  Pink  quartz  stopper. 

66 — Mutton-fat  Jade  Snuff  Bottle  ( Ch’ien-lung ) 

Gourd  shape.  Highly  polished  surface.  Pink  coral 
stopper. 


First  Afternoon 


07 — Imperial  Jadeite  Snuff  Bottle  ( Ch'ien-lung ) 

Flattened  bottle  shape;  gray  texture,  beautifully 
marked  with  streaks  of  emerald  green.  Stopper  to 
harmonize. 

68 — Mutton-fat  Jade  Snuff  Bottle  ( Ch'ien-lung ) 

Very  thin  flattened  bottle  shape.  Highly  polished  sur¬ 
face.  Has  carved  agate  and  silver-mounted  stopper. 


69 —  Fei-t’sui  Snuff  Bottle  ( Ch'ien-lung ) 

Beautifully  carved  in  design  of  two  bitter  cucumbers 
and  overlaid  with  the  vine;  a  distinctly  Chinese  vege¬ 
table.  Has  carnelian  stopper. 

70 —  White  Jade  Snuff  Bottle  ( Cli'icn-lung ) 

Gourd  shape.  Highly  polished  surface.  Has  pink 
coral  and  metal  stopper. 

71—  — Carved  White  Jade  Snuff  Bottle  ( Cli'icn-lung ) 

The  entire  surface  covered  with  designs  of  gold  fish 
executed  in  high  relief.  Gold  and  brown  markings. 

72 —  Large  Jade  Pebble  Snuff  Bottle  ( Ch'ien-lung ) 
White,  with  brown  mottling.  Highly  polished  surface. 


First  Afternoon 


89 — Teakwood  Table  Screen  ( Cli'ien-lung ) 

Carved  in  openwork,  with  yellow  jade  panel,  which  is 
carved  in  relief  with  the  eight  Buddhistic  symbols  of 
happy  augury. 


90 —  Pair  Jadeite  Bowls  ( Ch'ien-lung ) 

Mottled  green  and  white  highly  polished  surface. 

Diameter,  51/,  inches. 

91 —  White  Jade  Oviform  Jar  ( Cli'ien-lung ) 

With  cover.  Mountain  scenery  and  figures  carved  in 
relief.  Cover  surmounted  by  mythical  animal. 

Height,  6  inches. 


First  Afternoon 


92 — Moss-green  Jade  Shallow  Dish  ( Ch'ien-lung ) 

With  serpentine  edge.  Interior  decorated  with  chry¬ 
santhemums  and  butterfly,  delicately  etched  and  filled 
in  with  gold.  The  sides  of  swastika  fret  filled  in  with 
gold. 

Length,  })  inches;  width,  7 ys  inches. 

98 — Chinese  Imperial  Scepter  ( Ch'ien-lung ) 

Of  polished  teakwood,  with  three  gray-white  jade 
panels,  which  are  carved  in  relief  with  symbols  of 
long  life  and  floral  subjects. 


94 —  Chinese  Imperial  Scepter  ( Ch'ien-lung ) 

Of  polished  teakwood,  with  three  white  jade  panels, 
which  are  carved  with  symbols  of  long  life  and  floral 
subjects. 

95 —  Chinese  Imperial  Scepter  ( Ch'ien-lung ) 

Of  polished  teakwood,  with  three  large  panels  of  white 
jade  which  are  carved  in  relief  with  Chinese  symbolical 
subjects.  Has  glass  case. 

96 —  Peking  Glass  Cup  ( Ch'ien-lung ) 

Milk-white  and  coral  pink.  Engraved  seal  mark. 

97 —  Writer’s  Peking  Glass  Water  Dish  ( Ch'ien-lung ) 
The  exterior  of  sapphire  blue  and  the  inner  surface 
of  turquoise  blue. 

98—  Peking  Glass  Bottle-shaped  Vase  ( Yung  Clung) 
Yellow,  with  green  mottling.  Engraved  seal  mark. 


Height,  5 y4  inches. 


First  Afternoon 


112 —  Pair  Important  Cinnabar  Lacquer  Jars  (Ch’ien- 

lung ) 

With  hat-shaped  covers.  Formed  of  various  layers 
of  lacquer  and  carved  in  relief,  in  four  panels,  are 
Chinese  landscape  and  figure  subjects,  and  the  inter- 
vening  spaces  are  covered  with  peony  scrolls.  Borders 
of  gadroons. 

Height,  15%  inches;  diameter,  19 %  inches. 

113 —  Pair  Enameled  Plates  ( Ch'ien-lung ) 

One  with  dark  blue  border  and  five  white  panels,  and 
decorated  with  garden  scenes  and  group  of  dignitaries 
and  floral  subjects.  Companion  plate  similarly  deco¬ 
rated  on  a  white  ground. 


Diameter,  10%  inches. 


First  Afternoon 


114- — Pair  Enameled  Plates  ( K’ang-hsi ) 

Chinese  imperial  scenes  and  floral  borders  painted  in 
brilliant  colors  on  a  white  ground. 

Diameter,  11%  inches. 


115 — Cloisonne  Enamel  Incense 
Floral  scrolls  on  blue  ground. 


Burner  (Ming) 


Height,  2  inches. 


116 —  Pair  of  Old  Cloisonne  Enamel  Vases  (Ming) 
Flask  shape.  Floral  designs  in  white  panels.  Very 
old  and  rare;  the  first  products  of  the  Chin  Tai  manu¬ 
facture. 

Height,  3  inches. 

117 —  Small  Cloisonne  Enamel  Vase  (Ch’ien-lung) 
Pear-shape,  with  scroll  handles.  Floral  scrolls  in 
various  brilliant  enamels  on  a  turquoise-blue  ground. 

Height,  5  inches. 

118 —  Small  Cloisonne  Enamel  Incense  Burner  (Ch'ien- 

lung) 

Ogre  heads  and  scrolls  in  red,  green,  white  and  blue 
enamels  on  turquoise-blue  ground.  Gilt  fret  and  han¬ 
dles. 

Height,  4%  inches. 

119—  C  loisonne  Incense  Burner  (Ch'ien-lung) 

Globular  shape,  on  tripod.  Floral  scrolls  in  brilliant 
enamels  on  a  turquoise-blue  ground.  Gilt  handles  and 
ornaments. 

Height,  6  inches. 

120 —  Old  Cloisonne  Enamel  Incense  Burner 
Mystic  trigram  and  floral  designs  in  low  tones  on  a 
blue  ground. 


Diameter,  5  inches. 


First  Afternoon 


121 —  Pair  of  Cloisonne  Enamel  Flower-pots  ( Ch’ien - 

lung) 

Inverted  bell-shape  on  tripod.  Peony  scrolls  in  red, 
yellow,  blue  and  white  on  a  turquoise-blue  ground. 
Gilded  interioi*. 

Height,  3  inches;  diameter,  5  inches. 

122 —  Pear-shaped  Cloisonne  Enamel  Vase  ( Ch’ien-lung ) 
With  tall  slender  tubular  neck.  Turquoise-blue 
ground,  with  flowering  plants,  bands  of  palmettes  and 
profuse  scrolls  executed  in  a  dark  shade  of  blue  enamel 
in  fine  wires. 

Height,  11  inches. 

123 —  Pear-shaped  Cloisonne  Enamel  Vase  ( Ch’ien-lung ) 
With  tall  slender  tubular  neck.  Brilliant  mirror- 
black  ground,  completely  covered  with  budding  plants, 
scrolls  and  band  of  palmettes  intricately  executed  in 
fine  wires  and  resembling  filigree  work. 

Height,  11  inches. 

124 —  Old  Bronze  Water  Dish  {Ming) 

Outside  decorated  with  squirrels  and  grapevines  in 
relief  casting,  and  the  interior  with  a  mythical  steed 
among  waves. 

Length,  6y4  inches;  •width,  4^  inches. 

125 —  Ancient  Brass  Vessel  {Ming) 

On  the  inner  surface  are  four  fishes  and  water  plants 
cast  in  relief,  and  on  the  edge  two  bold  rudimentary 
handles.  This  old  vessel  was  used  in  temples  for 
holding  holy  water.  The  worshipers,  after  dipping 
their  hands,  during  their  prayers  violently  rubbed 
the  handles,  with  a  brisk  vibration  of  the  water,  which 
emitted  a  loud  resonance,  and  in  their  imagination  was 
an  answer  to  their  prayers. 

Diameter,  15  inches;  height,  4%  inches. 


First  Afternoon 


BLUE  AND  WHITE  PORCELAIN 

126 — Set  of  Five  Blue  and  White  Bowls  ( Ch’ien-lung ) 
Thin,  clear  white  hard  paste.  Decorated  with  clusters 
of  pomegranates  and  border  design  in  dark  blue. 


127 —  Pair  Rare  Blue  and  White  Bowls  (Ming) 

On  the  outer  surface,  Chinese  garden  scenes  and  fig¬ 
ures  in  beautiful  opaque  blue,  and  on  the  interior 
surface  a  border  design  and  the  four-character  mark 
of  Yung-lo. 

Diameter,  4 y8  inches. 

128 —  Pair  Old  Canton  Blue  and  White  Plates  (Ch’ien- 

lung) 

Decorated  in  brilliant  underglaze  blue  with  landscape, 
mountain  scenery  and  river  view. 

Diameter,  6  inches. 

129 —  Blue  and  White  Small  Deep  Dish  (Ch’ien-lung) 
Decoration  in  underglaze  blue.  In  the  center,  a  vase 
with  plants.  Border  of  fret  and  other  design. 

Diameter,  0%  inches. 


First  Afternoon 


130 —  Small  Blue  and  White  Plate  ( Ch’ien-lung ) 
Floral  designs  and  fret  border  in  very  dark  under¬ 
glaze  blue. 

Diameter,  6y8  inches. 

131 —  Small  Blue  and  White  Jar  ( Ch’ien-lung ) 
Decorated  in  underglaze  blue  of  brilliant  quality.  En¬ 
circling  the  body  are  two  four-clawed  dragons  pur¬ 
suing  the  sacred  pearl.  Round  the  shoulder  and  foot 
are  bands  of  scepter  heads  and  gadroons. 

Height,  4%  inches. 

132 —  Large  Blue  and  White  Rouge  Box  ( Ch’ien-lung ) 
Decoration  of  draperies,  children  at  play  and  lan¬ 
terns  in  two  shades  of  brilliant  underglaze  blue.  Un¬ 
derneath  the  foot,  a  five-clawed  dragon  amid  fire  em¬ 
blems  in  dark  blue. 

133 —  Small  Flower-pot  ( Ch’ien-lung ) 

Starch-blue  glaze.  Landscape,  mountain  scenery  and 
river  view  in  cobalt  blue. 

Height,  3 y4  inches. 

13d — Pair  of  Fine  Blue  and  White  BowrLS  (E&tly.  Ming) 
Decoration  of  turtles,  Shou  characters,  wave  crests 
and  symbols  of  longevity,  executed  in  brilliant  cobalt- 
blue  and  in  white  reserve.  Crane  crest  in  center,  and 
on  the  outer  surface  vines  and  blossoms. 

Diameter,  6%  inches. 

135 — Blue  and  White  Oviform  Jar  ( Ch’ien-lung) 

Of  soft-paste  type.  Finely  decorated  in  brilliant  un¬ 
derglaze  blue  with  floral  scrolls,  Sanscrit  characters 
and  a  border  of  the  Buddhistic  symbols  of  “Happy 
Augury.”  Underneath  the  foot,  seal  of  “Tsing-Suen- 


san. 


Height,  6  inches. 


First  Afternoon 


13(5 — Lotus-shaped  Blue  and  White  Dish  (Wan-li) 

Decorated  with  floral  sprays,  Sanscrit  characters  and 
scrolls  in  Mohammedan  blue.  Six-character  mark  of 
the  period. 

Diameter ,  7%  inches. 

137 —  Blue  and  White  Beaker  ( K'ang-lisi ) 

Decorated  with  a  pine  tree,  bamboo  and  fungi  in  dark 
cobalt-blue. 

Height,  5  inches. 

138—  Blue  and  White  Octagonal  Plate  ( Ch'ien-lung ) 
Sonorous  thin  bard  paste.  Landscape  scenery,  river 
view  and  beautifully  executed  border  design  in  two 
shades  of  underglaze  blue. 


Diameter,  8%  inches. 


First  Afternoon 


139 —  Blue  and  White  Plate  ( Ch’ien-lung ) 

Landscape,  river  view  and  border  designs  in  brilliant 
underglaze  blue. 

Diameter,  10 14  inches. 

140 —  Blue  and  White  Peak-shaped  Vase  (  Yung  Cheng) 
With  two  elephant-head  handles.  Floral  scrolls  and 
Sanscrit  characters  penciled  in  two  shades  of  under¬ 
glaze  blue.  Encircling  the  mouth  a  band  composed  of 
the  Buddhistic  symbols  of  “Happy  Augury.”  Seal 
mark  of  the  period. 

Height,  6  inches. 

141 —  Blue  and  White  Cylindrical  Incense  Burner 

( K’ang-hsi ) 

The  ground  unglazed  and  carved  with  swastika  fret 
design.  Decorated  with  four  blue  and  white  panels 
of  landscape  and  figure  subject. 

Height,  3 y,  inches;  diameter,  5%  inches. 

142 —  Large  Blue  and  White  Plate  ( K’ang-hsi ) 
Decorated  in  brilliant  underglaze  blue  with  “Fu-shau” 
fruit  and  persimmons.  Underneath  the  foot  a  six- 
character  mark  of  the  period  and  an  unglazed  groove 
which  is  characteristic  of  the  best  specimens  of  the 
K’ang-hsi  period. 

Diameter,  10%  inches. 

143—  — Blue  and  White  Dish  (Ch’ien-lung) 

Scalloped  edge.  Borders  of  fruit,  flowers  and  diaper 
patterns.  (Repaired.) 

Diameter,  10  inches. 

144 —  Blue  and  White  Dish  (Ming) 

Lotus  plants  and  scroll  borders  in  Mohammedan  blue. 
Gray-white  glaze.  Four-character  mark. 

Diameter,  liy3  inches. 


First  Afternoon 


T45 — Blue  and  White  Beaker-shaped  Vase  ( K’ang-hsi ) 
Dense  hard  paste.  Decorated  with  prunus  blossoms, 
bamboo,  birds  and  scroll  designs,  which  are  painted 
under  the  glaze  in  mazarine  blue  of  brilliant  quality. 
Etched  border  designs. 

Height,  8%  inches. 

146 —  Blue  and  White  Pear-shaped  Vase  (K’a  ng-lisi ) 
With  trumpet  neck.  Mountain  scenery,  rocky  cliffs 
and  river  view,  painted  in  brilliant  cobalt-blue. 

Height,  9%  inches. 

147—  B  lue  and  White  Ginger  Jar  ( K’ang-hsi ) 

Oviform.  Dragon  and  phoenix  amid  cloud  forms  and 
fire  emblems  penciled  in  two  shades  of  underglaze  blue. 

Height,  7 y4  inches. 


148 — Blue  and  White  Ginger  Jar  ( Ch’ien-lung ) 

With  its  original  dome-shaped  cover.  The  decoration 
of  floral  sprays  and  butterflies  is  beautifully  painted  in 
opaque  blue  on  a  brilliant  white  ground. 

Height,  8%  inches. 


149 —  Blue  and  White  Jar  (Ming) 

Dense  hard  paste.  Decoration  of  blooming  tree 
peonies,  birds  and  border  designs  in  Mohammedan  blue 
in  opaque  and  brilliant  quality. 

Height,  8%  inches. 

150 —  Blue  and  White  Ginger  Jar  ( K’ang-hsi ) 

The  ornamentation  consists  of  three  leaf-shaped  pan¬ 
els,  enclosing  figures  of  Chinese  children,  known  as  the 
“Naked  Boys”  amid  lotus  buds  and  a  whorl  of  scrolls. 
The  intervening  spaces  filled  with  sprays  of  lotus 
flowers. 


Height,  8%  inches. 


First  Afternoon 


K)I — Blue  axd  White  Beaker-shaped  Vase  ( K'ang-lisi ) 
Clear  white  hard  paste.  Decorated  in  underglaze  blue 
of  exceedingly  brilliant  quality.  The  embellishment 
consists  of  mountain  scenery,  rocky  cliffs,  river  view 
and  figures  of  dignitaries. 

Height,  14%  inches. 

152 — Blue  and  White  Pear-shaped  Vase  ( Ch'ien-lung ) 
With  tall  slender  neck  and  flaring  mouth.  The  ground 
of  rich  cobalt-blue,  over  which  is  a  white  slip  decora¬ 
tion  of  prunus  in  blossom,  tree  peony  and  symbolical 
bats  which  are  skilfully  modeled  and  etched. 

Height,  14%  inches. 


First  Afternoon 


153 — Blue  and  White  Ginger  Jar  ( K’ang-hsi ) 

The  ornamentation  consists  of  three  leaf-shaped  pan¬ 
els,  enclosing  figures  of  Chinese  children  known  as  the 
“Naked  Boys,”  amid  lotus  buds  and  a  whorl  of  scrolls. 
The  intervening  spaces  filled  with  sprays  of  lotus 
flowers. 

Height,  Sy2  inches. 

151 — Blue  and  White  Hawthorn  Ginger  Jar  ( K'ang- 
hsi ) 

The  ground  of  clouded  blue,  with  prunus  blossoms  in 
reserve  and  three  white  panels  decorated  with  children 
at  play.  Has  teakwood  cover. 

Height,  8  inches. 

155 —  Blue  and  White  Plate  ( K'ang-lisi ) 

Thin  sonorous  porcelain.  Decoration  of  large  peonies 
and  leaf  scrolls  in  brilliant  blue. 

Diameter,  14  inches. 

156 —  Large  Blue  and  White  Plate  ( Ch’ien-lung ) 

Dense  hard  paste.  Decoration  of  flowers  and  leaf 
scrolls  in  dark  cobalt-blue. 

Diameter,  15  inches. 


157 —  Decorated  Pear-shaped  Vase  (Ch’ien-lung) 
Invested  with  a  pale  celadon  glaze  and  decorated  in 
underglaze  and  rouge-de-cuivre  with  phoenixes  and 
tree  peonies. 

Height,  12  inches. 

158—  Celadon  Oviform  Vase  (Ch’ien-lung) 

With  two  deer-head  handles  modeled  in  bold  relief. 
Coated  with  a  sea-green  celadon  glaze  and  decorated 
with  a  “Wu-tung”  tree,  peonies  and  a  phoenix  which 
are  worked  in  low  relief  in  the  paste  and  painted  in 
two  shades  of  underglaze  blue. 


Height,  12%  inches. 


First  Afternoon 


159 —  Pair  of  Barrel-shaped  Celadon  Jars  and  Covers 

( Ch'ien-lwng ) 

One  decorated  with  ornamental  objects  known  as  “The 
Hundred  Antiques,”  flowers  and  bats ;  and  the  other, 
with  tree  peonies  and  a  phoenix,  all  of  which  are  mod¬ 
eled  in  low  relief  in  the  paste  and  painted  in  blue  and 
white. 

Each:  Height,  inches. 

160 —  Celadon  Oviform  Vase  ( Ch’ien-lung ) 

Invested  with  a  monochrome  glaze  of  pale  sea-green 
color  and  decorated  with  plum  tree,  chrysanthemums 
and  a  cat  seated  on  a  rock,  painted  in  peachbloom  tint 
and  underglaze  blue.  The  neck  has  been  cut  down 
and  rimmed  with  metal. 

Height,  12  inches. 

161 —  Decorated  Vase  ( Ch’ien-lung ) 

Quadrilateral  shape,  with  two  tubular  handles.  Dense 
hard  paste.  Decoration  of  chrysanthemums,  plum  in 
blossom  and  bamboo,  painted  in  underglaze  blue  and 
rouge-de-fer. 

Height,  14  inches. 

162 —  Bottle-shaped  Vase  ( Ch’ien-lung ) 

With  flange  encircling  shoulder  and  has  two  elephant- 
head  and  loose  ring  handles.  It  is  enameled  with  a  pale 
celadon  glaze  and  decorated  with  bands  of  archaic 
scrolls,  gadroons  and  scepter  head  in  brilliant  under¬ 
glaze  blue. 

Height,  12y2  inches. 

163 —  Pear-shaped  Vase  ( Ch’ien-lung ) 

With  broad  flaring  neck.  Has  raised  flange  round 
shoulder  of  scepter-head  designs  and  two  monster- 
head  handles  in  imitation  of  iron.  It  is  coated  with  a 
pale  sea-green  celadon  glaze  and  alternating  bands  of 
ivory-white,  lavender  and  buff,  and  decorated  in  un¬ 
derglaze  blue. 


Height,  1 5 '/2  inches. 


First  Afternoon 


164 —  Celadon  Vase  ( Ch’ien-lung ) 

Graceful  oviform,  with  overlapping  and  spreading 
neck  on  which  are  two  handles  of  phoenix  design. 
Coated  with  a  sea-green  celadon  glaze  of  pellucid  qual¬ 
ity  and  decorated  in  blue  and  white  with  floral  sprays 
and  prunus  blossoms,  which  are  worked  in  low  relief 
in  the  paste. 

Height,  16%  inches. 

165 —  Decorated  Bottle-shaped  Vase  ( Cli  ien-lung ) 

Bold  dragon  amid  cloud  forms,  painted  in  mazarine 
blue  and  copper  red. 

Height,  17%  inches. 

166 —  Large  Celadon  Vase  ( Ch’ien-lung ) 

Tall  shape,  fashioned  to  resemble  a  fabric  bag,  tied 
with  a  ribbon  band  at  the  neck,  on  which  are  kylin 
ornaments  for  handles.  It  is  coated  with  a  celadon 
glaze  of  sea-green  tint  and  profusely  decorated  with 
medallion  of  brocade  patterns  and  Buddhistic  sym¬ 
bols  in  raised  blue  and  white. 

Height,  24  inches. 

167 —  Decorated  Bottle-shaped  Vase  ( Ch’ien-lung ) 
Coated  with  an  apple-green  glaze,  which  is  etched  with 
leaf  scrolls  and  blooming  chrysanthemums  painted  in 
brilliant  enamel  colors. 

Height,  8 %  inches. 


168 —  Cylindrical  Vase  ( Ch’ien-lung ) 

Invested  with  an  iridescent  orange  yellow  glaze  and 
decorated  in  dark  brown  with  mountain  scenery  and 
river  view. 

Height,  8%  inches. 

169 —  Globular  Jar  ( Yung  Clicng ) 

Decoration  of  blossoming  prunus,  bamboo  and  birds. 

Height,  8  inches. 


First  Afternoon 


170 — Oviform  Vase  ( CJi’ien-lung ) 

The  decoration,  which  is  known  as  the  “Hundred  An¬ 
tiques,”  is  painted  in  rouge-de-fer  and  underglaze  blue. 

Height,  8%  inches. 


171 —  Oviform  Vase  ( Cli'ien-lung ) 

Similar  in  shape  to  the  foregoing.  Decoration  of 
wild  geese,  grasses  and  millet,  in  rouge-de-fer  and  un¬ 
derglaze  blue. 

Height,  9%  inches. 

172 —  Bottle-shaped  Vase  ( Cldien-hing ) 

With  tall  neck  and  spreading  mouth.  Coral-red 
glaze,  over  which  are  cloud-forms  penciled  in  gold. 
Six  reserve  panels,  in  which  are  numerous  legendary 
and  other  figures  exquisitely  painted  in  enamel  colors. 

Height,  10  inches. 


173 — Globular  Jar  (  Yung  Cheng ) 

Phoenix  and  tree  peonies  painted  in  the  enamel  colors 
of  the  famille  rose. 

Height,  8 y3  inches. 


174 —  Pear-shaped  Vase  ( Cldien-lung ) 

Decorated  in  enamel  colors  with  floral  sprays,  blos¬ 
soms  and  the  sacred  fungus.  Encircling  the  neck  and 
on  shoulder,  worked  in  high  relief,  are  two  dragons 
pursuing  the  sacred  pearl. 

Height,  11  inches. 

175 —  Pair  Cylindrical  Vases  (Cliien-lung) 

Bamboo  design.  Yellow  glaze.  Decoration  of  vase 
containing  flowers  and  spears,  modeled  in  relief  and 
coated  with  brilliant  enamels. 

Height,  11  inches. 


First  Afternoon 


176 — Quadrilateral  Decorated  Vase 

Decoration  of  flowers,  birds,  landscapes  and  orna¬ 
ments  painted  in  enamel  colors  of  the  famille  verte. 
Has  two  dragons  as  handles  modeled  in  relief. 

Height,  12 %  inches. 


177 —  Pear-shaped  Vase  ( Cliien-lung ) 

With  boldly  flaring  mouth.  Elaborate  decoration  of 
plum  tree  in  blossom,  pine  tree,  bamboo  and  birds 
painted  in  rouge-de-fer  and  underglaze  blue. 

Height,  13%  inches. 

178 —  Cylindrical  Vase  ( K'ang-hsi ) 

With  trumpet-shaped  neck.  Thin  hard  paste.  Deco¬ 
rated  with  figures  of  an  emperor  and  other  dignitaries 
assembled  beneath  a  pine  tree,  painted  in  brilliant 
underglaze  blue  and  enamel  colors,  enhanced  by  gild¬ 
ing.  Has  four-character  mark  underneath  the  foot. 

Height,  14  inches. 


179 — Pear-shaped  Vase  ( Ch'ien-lung ) 

Coated  with  a  rose-pink  glaze,  and  decorated  with  tree 
peonies,  chrysanthemums  and  birds,  painted  in  reserve 
in  black  and  white.  Two  monster-head  and  ring  han¬ 
dles  on  shoulder. 

Height,  14  inches. 


180 — Tall  Oviform  Vase  ( Yung  Cheng) 

Coated  with  a  brilliant  cobalt-blue  glaze  over  which  is 
a  decoration  in  gilding  of  a  pine  tree,  bamboo  and 
cranes. 

Height,  15  inches. 


181 — Beaker-shaped  Vase  (Yung  Cheng) 

Decoration  of  figures  of  Chinese  fisherman,  landscape 
and  willow  tree,  penciled  in  black,  buff,  blue  and  green. 

Height,  14%  inches. 


First  Afternoon 


182 —  Tall  Oviform  Vase  ( Cli'ien-lung ) 

Enameled  with  a  rose-pink  glaze  which  is  etched  with 
leaf  scrolls  and  decorated  with  magnolia  in  bloom, 
tree  peonies,  phoenixes  and  rocks,  executed  in  enamels 
of  the  famille  rose.  Seal  mark  of  the  period. 

Height,  17 y2  inches. 

183 —  Tall  Decorated  Vase  (K’ang-hsi) 

Inverted  pear-shape,  with  trumpet  neck.  Richly  deco¬ 
rated  with  vases  of  fruits  and  flowers,  palms  and 
rockeries,  painted  in  underglaze  blue  and  brilliant 
enamel  colors. 

Height,  18  inches. 

184 —  Hexagonal  Plant  Jar  ( Cli’ien-lung ) 

Dense  hard  paste.  Decorated  in  enamel  colors  with 
the  flowers  of  the  four  seasons,  various  birds  and 
scroll  designs. 

Height,  10  inches;  diameter,  15  inches. 

DECORATED  BOWLS  AND  PLATES 

185 —  Two  Small  Bowls  (  Yung  Cheng ) 

Decoration  of  peonies,  bamboo  and  rockeries  in  the 
enamel  colors  of  the  famille  rose.  Six-character  mark 
of  the  period. 

186 —  Four  Small  Cup  Stands  ( Ch'ien-lung ) 

Rose-color  glaze,  with  an  etched  surface  and  floral 
and  leaf  scrolls  painted  in  enamel  colors. 

187 —  Decorated  Bowl  ( Yung  Cheng ) 

Clear  white  hard  paste.  Decorated  in  enamel  colors 
and  underglaze  blue  with  five-clawed  dragons  amid 
cloud  forms,  pursuing  the  sacred  pearl.  Four-char¬ 
acter  mark  underneath  the  foot. 


Diameter,  6 14  inches. 


First  Afternoon 


188 —  Pair  Decorated  Bowls  ( K’ang-lisi ) 

Decorated  in  enamel  colors  and  underglaze  blue  with 
clusters  of  peaches,  pomegranates  and  persimmons, 
symbolical  bats  and  Shou  symbols. 

Diameter,  6%  inches. 

189—  Pair  Decorated  Bowls  ( Tao  Kuang ) 

Decoration  of  Imperial  dragons,  phoenixes  and  floral 
designs,  painted  in  brilliant  enamel  colors  and  under¬ 
glaze  blue.  Has  seal  mark  of  the  period.  (One  re¬ 
paired.) 

Diameter,  6  inches. 


190 — Decorated  Bowl  ( K'ang-hsi ) 

Semi-eggshell  sonorous  hard  paste.  Exquisitely  deco¬ 
rated  with  a  flowering  vine  in  green  enamel  and  coral 
red,  and  border  designs  in  blue  underneath  the  glaze. 

Diameter,  6%  inches. 


191—  — Decorated  Bowl  ( Yung  Clicng ) 

Outer  surface,  invested  with  a  cafe-au-lait  glaze,  over 
which  is  a  decoration  of  floral  sprays  painted  in  bril¬ 
liant  enamel  colors  of  famille  rose.  (Edge  slightly 
chipped.) 

Diameter,  7  inches. 

192 —  Decorated  Bowl  ( Ch’ien-lung ) 

The  outer  surface  finely  decorated  with  six  large  flow¬ 
ers,  amid  leafy  scrolls,  and  a  band  of  gadroons,  all  of 
which  are  painted  in  brilliant  enamel  colors  and  under¬ 
glaze  blue. 

Diameter,  7  inches. 

193 —  Five-colored  Bowl  ( K'ang-hsi ) 

Decoration  of  cranes  in  flight,  clusters  of  the  fruit  of 
immortality,  waves  and  rocks,  painted  in  the  enamel 
colors  of  famille  rerte.  (The  edge  chipped.) 


Diameter,  7%  inches. 


First  Afternoon 


194 —  Imperial  Bowl  (  Yung  Cheng) 

The  outer  surface  coated  with  a  violet-color  glaze 
with  an  orange  peel  surface.  The  decoration,  which 
is  executed  in  reserve  with  various  enamel  colors,  con¬ 
sists  of  a  plum  tree  in  blossom  and  twelve  magpies, 
which  are  considered  by  the  Chinese  as  propitious 
tidings  carriers  and  are  always  twelve  in  number,  one 
for  each  month.  The  inner  surface  is  coated  with  a 
sea-green  glaze. 

Diameter,  7ys  inches. 

195—  Decorated  Bowl  ( Tuo  Kuang) 

Dense  hard  paste.  The  outer  surface  decorated  with 
Buddhistic  symbols  of  Happy  Augury,  floral  sprays 
and  border  designs  in  brilliant  enamel  colors.  The 
inner  surface  coated  with  a  mottled  green  glaze. 

Diameter,  7j4  inches. 

19G — Decorated  Bowl  ( Ch'ien-iung ) 

Dragons  and  fire  emblems  penciled  in  coral  red  and 
gilding,  and  border  designs  in  underglaze  blue.  Seal 
mark  underneath  the  foot. 


Diameter,  7%  inches. 


First  Afternoon 


197 — Decorated  Aubgerine  Bowl  ( K’ang-hsi ) 

Thin  sonorous  porcelain.  The  inner  and  outer  surface 
invested  with  an  aubergine  glaze  of  iridescent  quality. 
The  decoration  of  blossoming  sprays  is  etched  in  the 
paste  and  enameled  in  yellow,  green  and  ivory  white. 

Diameter,  8*4  inches. 


198 — Decorated  Bowl  ( Ch’ien-lung ) 

The  outer  surface  invested  with  an  apple-green  glaze, 
over  which  are  cloud  forms  outlined  in  purple.  Within 
four  circular  reserves  are  dowers  of  the  four  seasons 
painted  in  violet  tint. 

Diameter,  8 14  inches. 


199 — Large  Decorated  Bowl  (Ch’ien-lung) 

Clear  white  sonorous  hard  paste.  On  the  outer  sur¬ 
face,  decorated  in  rouge-de-cuivre  and  underglaze 
blue,  are  twigs  of  peach  fruit,  pomegranates  and 
Buddha’s-hand  fruit,  symbolical  of  the  Abundances  of 
Years,  Children  and  Happiness,  and  on  the  inner  sur¬ 
face  the  sacred  fungus.  Has  seal  mark. 

Diameter,  Sy2  inches. 


200 — Large  Decorated  Bowl  ( Yung  Clieng) 

The  outer  surface  decorated  with  blooming  peonies 
and  other  flowers,  beautifully  painted  in  the  enamel 
colors  of  the  famille  rose.  The  inner  surface  coated 
with  a  sea-green  glaze. 


Diameter,  8%  inches. 


First  Afternoon 


201 — Large  Decorated  Bowl  ( K’ang-hsi ) 

Dense  sonorous  hard  paste.  The  outer  surface  deco¬ 
rated  in  brilliant  enamel  colors  and  underglaze  blue 
with  figures  of  warriors,  dignitaries  and  other  figures, 
illustrating  a  Chinese  historical  subject.  On  the  inner 
surface  a  dragon  amid  cloud  forms. 

Diameter,  8%  inches. 


202 — Decorated  Bowl  ( Yung  Cheng ) 

The  outer  surface  corrugated  and  finely  decorated 
with  garden  scene,  in  which  are  numerous  figures  of 
mandarins,  all  executed  in  the  enamel  colors  of  the 
famille  rose  and  enriched  by  gilding.  Has  tall  teak- 
wood  stand. 

Height,  4 y2  inches;  diameter,  5%  inches. 


203 — Celadox  Octagoxal  Dish  ( Ch’ien-lung ) 

Decoration  of  pigeons,  butterflies,  bamboo  and  flower¬ 
ing  plants,  finely  painted  in  enamel  colors  and  enriched 
by  gilding. 

Height,  3i/2  inches ;  diameter,  5 14  inches. 


First  Afternoon 


204 — Chrysanthemum-shaped  Bowl  ( K'ang-hsi ) 

Thin  sonorous  porcelain.  Floral  designs  and  branches 
of  blossoms  painted  in  the  brilliant  enamel  colors  of 
the  famille  verte. 

Diameter,  7%  inches. 


205 —  Decorated  Bowl  ( K'ang-hsi ) 

Lotus  shape.  Outer  surface  decorated  with  dragons 
amid  fire  emblems  pursuing  the  sacred  pearl,  painted 
in  the  enamel  colors  of  the  famille  verte. 

Diameter,  8  inches. 

206 —  Two  Bowls  ( Ch’ien-lung ) 

The  outer  surface  covered  with  a  brilliant  cobalt-blue 
glaze  over  which  are  dragon  and  cloud  forms  penciled 
in  gold. 

Diameter,  6%  inches. 

207 —  Decorated  Bowl  (Ch’ien-lung) 

Five-clawed  dragon,  fire  emblem  and  the  sacred  pearl, 
painted  in  brilliant  green. 

Diameter,  7%  inches. 


208 — Decorated  Bowl  (Ch’ien-lung) 

Sprays  of  the  fiowers  of  the  four  seasons  painted  in 
brilliant  enamel  colors.  Raised  borders  in  gros-bleu. 

Diameter,  71/,  inches. 


209 — Decorated  Bowl  (Ch’ien-lung) 

Sprays  of  blossoms  and  butterflies,  painted  in  bril¬ 
liant  enamel  colors. 

Diameter,  7  inches. 


210 — Decorated  Bowl  (Ch’ien-lung) 

Sanscrit  character  and  seal  marks,  painted  in  coral 
red. 


Diameter,  7  inches. 


First  Afternoon 


211 —  Decorated  Bowl  (Yung  Clung ) 

Bamboo  and  rockery,  painted  in  green  and  blue 
enamel. 

Diameter,  7  inches. 

212 —  Decorated  Bowl  ( Ch’ien-lung ) 

Floral  sprays,  painted  in  finely  combined  enamel  col¬ 
ors. 

Diameter,  7  inches. 

213 —  Decorated  Bowl  ( Ch’ien-lung ) 

Clouded  blue  ground.  Reserve  panels  of  bamboo  in 
coral  red. 

Diameter,  7  inches. 

214 —  Decorated  Bowl  (Ch’ien-lung) 

Outer  surface  covered  with  a  rose-pink  glaze  which 
has  an  eggshell  surface.  Bands  of  floral  scrolls  and 
gadroons  penciled  in  a  darker  shade  of  rose. 

Diameter,  7  inches. 

215—  — Four  Decorated  Bowls  (Yung  Cheng) 

Garden  scenes  and  figures  of  mandarins  penciled  in 
black  and  buff. 

Diameter,  8  inches. 

216 —  Nest  of  Six  Bowls  (Ch’ien-lung) 

Lotus  design,  enameled  in  naturalistic  colors  of  the 
flower. 

Largest  diameter,  8  inches;  smallest,  3y2  inches. 

217 —  Chinese-Lowestoft  Bowl  (Ch’ien-lung) 

Thin  sonorous  hard  paste.  Decorated  Avith  a  deli¬ 
cately  executed  border  design  in  green,  black  and  gild¬ 
ing.  (Slight  crack  on  edge.)  Has  carved  teakAvood 
stand. 


Diameter,  10  inches. 


First  Afternoon 


218 —  Decorated  Porcelain  Dish  ( Ch'ien-lung ) 

Low  circular  shape  with  wide  flange.  It  is  of  dense 
hard  paste,  and  decorated  in  enamel  colors  and  under¬ 
glaze  blue  with  dragon,  phoenix,  floral  scrolls,  Shou 
mark  and  a  border  of  the  eight  Buddhistic  symbols  of 
“Happy  Augury.”  Has  teakwood  stand. 

Diameter,  15%  inches. 

219—  F  ruit  Dish  on  High  Foot  ( K’ang-hsi ) 

Inner  surface  decorated  with  a  figure  of  a  Chinese 
lady  making  her  toilet  painted  in  enamel  colors  of 
the  famille  verte  on  a  lemon-yellow  ground.  The  outer 
surface  coated  with  a  mirror-black  glaze. 

Diameter,  8 %  inches. 


DECORATED  PORCELAIN  PLATES 

220 —  Decorated  Plate  (Ch'ien-lung) 

Chocolate-colored  glaze,  with  scrolls  painted  in  gold. 
In  four  reserve  panels  are  floral  designs  painted  in 
enamel  colors. 

Diameter,  7%  inches. 

221 —  Coral-red  Plate  (Ch'ien-lung) 

Landscape  painted  in  enamel  colors  in  a  reserve  panel 
and  scrolls  penciled  in  gold. 

Diameter,  8  inches. 

222 —  Clouded  Turquoise-blue  Plate  (Ch'ien-lung) 

Four  reserve  panels,  in  which  are  wild  geese  and  bam¬ 
boo  penciled  in  coral-red. 

Diameter,  8%  inches. 

223 —  Decorated  Dish  (K'ang-lisi) 

Thin  sonorous  porcelain.  Floral  sprays  finely  painted 
in  coral-red,  underglaze  blue  and  gilding. 


Diameter,  8%  inches. 


First  Afternoon 


224 —  Set  of  Four  Deep  Plates  ( K’ang-hsi ) 

Decorated  with  garden  scenes  and  figure  of  Chinese 
lady,  painted  in  brilliant  enamel  colors  of  the  famille 
verte. 

Diameter,  7%  inches. 

225 —  Pair  Decorated  Plates  ( K’ang-hsi ) 

Clear  white  hard  paste.  The  decoration  depicts  an 
imperial  ceremonial  scene  beautifully  painted  in  the 
brilliant  enamel  colors  of  the  famille  verte. 

Diameter,  8  inches. 


226 — Decorated  Plate  ( K’ang-hsi ) 

Chrysanthemum  and  bamboo  fence,  painted  in  coral- 
red  and  underglaze  blue. 

Diameter,  inches. 


227- — Pair  Decorated  Plates  ( Cliien-lung ) 

Decoration  of  goats,  rockeries  and  plum  in  blossom 
painted  in  various  enamel  colors.  Border  of  scepter- 
bead  designs  exquisitely  painted  in  enamel  colors  on 
a  coral-red  vermieulated  ground  outlined  with  gold. 

Diameter,  9  inches. 


228 — Decorated  Plate  ( K’ang-hsi ) 

Mythological  monster  amid  fire  emblems,  diaper  pat¬ 
terns  and  symbols,  painted  in  the  brilliant  enamel 
colors  of  the  famille  verte. 

Diameter,  9  inches. 


229 — Circular  Plaque  ( Ch’ien-lung ) 

The  center  coated  with  a  mirror-black  glaze  and  bor¬ 
dered  with  a  diaper  pattern  of  peaehbloom  tint. 

Diameter,  1 01/,  inches. 


First  Afternoon 


230—  Decorated  Plate  ( K’ang-hsi ) 

Hard  paste.  Decorated  with  figures  of  two  fishermen 
on  bank  of  stream,  in  enamel  colors  of  the  famille 
verte.  A  cartouche  and  crest  on  edge. 

Diameter,  9  inches. 

231 —  Coral-red  Plate  ( Ch’ien-lung ) 

Elaborately  decorated  with  floral  sprays  beautifully 
executed  in  brilliant  enamel  colors. 

Diameter,  10  inches. 

232 —  Decorated  Plate  {Ming) 

Deep  form.  Decoration  of  chrysanthemums  and 
finely  executed  border  designs,  painted  in  five-color 
enamels.  Encircling  the  foot  is  an  unglazed  groove. 

Diameter,  10%  inches. 

233 —  Brilliant  Sapphire-blue  Plate  ( Ch’ien-lung ) 
Elaborately  decorated  in  gilding  with  two  five-clawed 
dragons  amid  cloud  forms  and  fire  emblems  pursuing 
the  sacred  pearl.  Border  of  scepter-head  scrolls. 

Diameter,  11%  inches. 


234 —  Two  Decorated  Plates 

One  decorated  with  floral  designs  and  scepter  border, 
painted  in  enamel  colors  of  the  famille  rose ;  the  other, 
Chinese-Lowestoft,  with  decorated  border  of  grape¬ 
vine  design. 

Diameter,  10  inches. 

235 —  Two  Decorated  Plates  {Ch’ien-lung) 

One,  apple-green  ground  with  etched  leaf  scrolls  and 
peonies,  decorated  in  enamel  colors;  the  other,  of  dark- 
blue  ground,  with  etched  scrolls  and  enamel  disks. 


Diameter,  10  inches. 


First  Afternoon 


236 — Two  Large  Decorated  Plates  ( Yung  Cheng ) 

Peonies  and  other  flowers  painted  in  the  enamel  colors 
of  the  famille  rose.  Borders  of  scepter-head  scrolls 
painted  in  similar  colors. 

Diameter,  12  inches. 


237 —  Octagon  Plate  ( K’ang-hsi ) 

Decorated  with  a  Chinese  domestic  scene.  Various 
ornaments  and  floral  designs,  painted  in  enamel  colors 
of  the  famille  verte. 

Diameter,  14 y2  inches. 

238 —  Large  Plate  ( K’ang-hsi ) 

Decoration  of  rocks,  floral  sprays  and  blossoms  and 
butterflies  in  two  shades  of  green,  coral  red  and  auber¬ 
gine.  Encircling  the  foot  is  an  underglaze  groove. 

Diameter,  1 3 y2  inches. 


239 — Large  Plate  ( K’ang-hsi ) 

Decoration  of  fabulous  animals,  flowering  plants,  birds 
and  butterflies  and  a  border  of  diaper  patterns  in  the 
enamel  colors  of  the  famille  verte.  Encircling  the  foot 
is  an  unglazed  groove. 

Diameter,  13%  inches. 

2^0=— Large  Deep  Plate  (  Yung  Cheng ) 

In  the  center  is  a  large  four-clawed  dragon  and  a 
phoenix  amid  cloud  forms  and  fire  emblems;  finely 
painted  in  brilliant  enamel  colors.  Wide  border  of 
flowers,  Shou  symbol  and  leafy  scroll,  and  an  outer 
border  of  cloud  forms — all  executed  in  enamel  colors. 
Has  six-character  mark  of  the  period.  (Defective.) 

Diameter,  18%  inches. 


SECOND  AND  LAST  AFTERNOON’S 
SALE 


TUESDAY,  MAY  2,  1916 

AT  THE  AMERICAN  ART  GALLERIES 


BEGINNING  AT  2.30  O’CLOCK 


SINGLE  COLORS 

241 —  Small  Lotus-leaf  Shaped  Tray  ( Ch'ien-lung ) 
Inner  surface  covered  with  a  robin’s-egg  blue  souffle 
glaze  and  the  outer  with  a  pale  green  glaze. 

242 —  Small  Soft-paste  Plate  ( K'ang-lisi ) 

Rice-color  glaze,  marked  with  brown  crackle. 

243 —  Miniature  Fukien  China  Vase  (K  ’ ang-hsi ) 
Flattened  oviform.  Incised  decoration  of  swastika 
fret  and  Sliou  symbol. 

Height,  3 y2  inches. 

244 —  Small  Soft-paste  Bottle  (Ch'ien-lung) 

Ivory-white  glaze.  Etched  floral  decoration. 

245 —  Porcelain  Rouge  Box  ( K’ang-hsi ) 

Invested  with  a  sapphire-blue  glaze  of  brilliant  opaque 
quality  applied  over  a  crackle  surface. 

246 —  Small  Porcelain  Coupe  ( Cli'ien-lung ) 

Invested  with  a  tea-color  glaze,  with  gold-dust  souffle. 


Second  Afternoon 


247 —  Writer’s  Water  Receptacle  ( Ch’ien-lung ) 
Enameled  with  a  starch-blue  glaze  and  decorated  with 
symbols  and  flowers  in  dark  underglaze  blue. 

248 —  Porcelain  Rouge  Box  {Yung  Cheng ) 

Coated  with  a  metallic  brown  glaze.  Two  dragons 
pursuing  the  sacred  pearl  carved  in  relief.  A  rare 
specimen  of  the  Wang  Ping  Jung  ware. 


249 —  Writer’s  Water  Receptacle  (Early  Sung ) 
Ko-yan  ware.  Square  oviform,  with  two  rudimentary 
handles  and  bosses  for  ornament.  Coated  with  a 
clair-de-lune  glaze  which  is  marked  with  a  bold  crackle. 

250 —  Painter’s  Color  Dish  (Ming) 

Leaf-shaped  and  invested  with  a  white  glaze  which  is 
boldly  crackled  throughout. 


Second  Afternoon 


251 — Writer’s  Water  Dish  ( Cliien-lung ) 

Oval  shape.  Coated  with  a  stareh-blue  glaze.  On  the 
inner  surface,  two  fish  modeled  in  relief. 

Diameter,  4  inches. 


252 — Writer’s  Water  Dish  ( Cli'ien-lung ) 

Circular  shape.  The  inner  and  outer  surface  invested 
with  a  “tea-dust”  souffle  glaze  of  brilliant  quality. 

Diameter,  4 inches. 


253 — Small  Bottle-shaped  Vase  (Ch’ien-lung) 

Coated  with  a  variegated  glaze  in  tones  of  red  and 
green  resembling  a  ripening  apple.  Lustrous  over¬ 
glaze. 


Second  Afternoon 


254) — Small  Bottle-shaped  Vase  ( Yung  Cheng) 

Graceful  globular  body,  with  tall  slender  tubular  neck. 
Enameled  with  a  rose-color  glaze  of  exceedingly  fine 
quality. 

Height,  5 y4  inches. 


255 — Small  Octagonal  Flower  Vase  ( Yung  Cheng ) 

Fashioned  after  an  ancient  bronze.  Coated  with  a 
brilliant  turquoise-blue  glaze  and  decorated,  in  black 
outline,  with  palmettes  and  diaper  pattern.  Incised 
mark  denoting  that  this  piece  was  made  for  royal  use. 


Height,  4 y2  inches. 


256 — Small  Celadon  Bottle-shaped  Vase  ( Ch'ien-lung ) 
Invested  with  a  pale  sea-green  glaze.  Decoration  of 
flowers,  rocks  and  tree  modeled  in  relief  in  the  paste. 

Height,  5%  inches. 


Second  Afternoon 


257 — Rare  Fu-Yao  China  Rouge  Box  {Early  Ming) 

Cover  decorated  with  hieroglyphics  in  relief,  unglazed, 
and  the  body  with  etched  designs  under  a  brilliant 
glaze. 

Diameter,  4  inches. 


258 —  Pair  Fu-Yao  China  Seals  {Ming) 

Mounted  with  figures  of  lioness  and  cub. 

Height,  5%  inches. 

259 —  Set  of  Four  Lang-Yao  Wine  Cups  {K'ajig.-luL) 
The  outer  surfaces  coated  with  a  monochrome  glaze 
of  sang-de-baeuf,  and  the  inner  surface  and  underneath 
the  foot  invested  with  a  pale  celadon  glaze. 


Diameter,  2%  inches. 


Second  Afternoon 


260 — Writer’s  Water  Receptacle  ( Cli’ien-lung ) 

Globular  shape,  with  wide  mouth.  Enameled  with  a 
monochrome  glaze  of  the  peachbloom  type. 

Diameter,  3%  inches. 


No.  261. 


( K’ang-hsi ) 

Invested  with  a  mottled  red 
and  verdigris  green  glaze  of 
brilliant  quality.  Six-char¬ 
acter  mark  of  the  period. 

Diameter,  2yg  inches. 

262 — Small  Pear-shaped  Vase 
(  K?awg-hsi) 

With  tall  slender  neck. 
Coated  with  a  red  glaze 
which  is  marked  with  metallic 
spots.  Six-character  mark 
underneath  the  foot. 

Height,  4%  inches. 


263 — Writer’s  Water  Dish  (K’ang-hsi) 

Low  circular  shape,  with  wide  mouth.  Enameled  with 
a  monochrome  glaze  of  the  peachbloom  type,  which 
exhibits  metallic  spots.  Six-character  mark  of  the 
period. 

Diameter,  5  inches;  height,  2%  inches. 

261 — Writer’s  Water  Dish  ( K’ang-hsi ) 

Low  circular  shape,  with  wide  mouth.  Invested  with 
a  monochrome  glaze  of  peachbloom  type.  (Slightly 
defective.)  Six-character  mark  of  Hsuan  Te  of  the 
Ming  Dynasty. 

Height,  2  inches;  diameter,  5  inches. 


Second  Afternoon 


265 —  Writer’s  Water  Receptacle  (  K'ang-hsi ) 
Semi-globular  shape.  Dense  hard  paste.  The  outer 
surface  invested  with  a  brilliant  monochrome  glaze 
of  the  sang-de-bceuf  type,  under  which  is  a  delicately 
etched  archaic  dragon. 

Diameter,  4%  inches;  height,  2y4  inches. 

266 —  Porcelain  Incense  Burner  ( Ch'ien-lung ) 

Dense  hard  paste.  Coated  with  a  monochrome  glaze 
of  Lang-Yao  red. 

Diameter,  4 y,  inches;  height,  2 y.,  inches. 

267 —  Globular  Water  Jar  ( Ch'ien-lung ) 

Invested  with  a  monochrome  glaze  of  liver  color. 


Diameter,  4 ys  inches;  height,  2  inches. 


Second  Afternoon 


268 — Two  Covered  Bowes  ( Ch’ien-lung ) 

Thin  hard  paste.  The  outer  surface  invested  with  a 
deep  rose-color  glaze  of  fine  even  quality.  (One  bowl 
slightly  chipped.) 

Diameter,  4%  inches. 


269 —  Rose-color  Bottle-shaped  Vase  ( Ch’ien-lung ) 

Thin  hard  paste.  Invested  with  a  rose-color  souffle 
glaze  of  even  quality. 

Height,  6%  inches ... 

270 —  Small  Bottle-shaped  Vase  ( Ch’ien-lung ) 

Coated  with  a  monochrone  glaze  of  lapis  blue  of 
opaque  quality. 

Height,  5 ys  inches. 


Second  Afternoon 


271 —  Graceful  Amphora-shaped  Vase  ( Ch'ien-lung ) 
Invested  with  a  monochrome  glaze  of  “ashes-of-roses” 
color,  of  fine  even  quality. 

Height,  7%  inches. 

272 —  Writer’s  Porcelain  Water  Receptacle  ( Ch'ien- 

lung) 

Modeled  in  design  of  a  hen  and  her  brood,  on  a  cir¬ 
cular  straw  mat.  Coated  with  a  gray-white  glaze. 


273 — Oviform  Vase*  (  K'ang-lisi ) 

With  trumpet-shaped  neck  and 
expanding  base.  Invested  with 
a  monochrome  glaze  of  ca¬ 
mellia-leaf  green,  of  exceeding¬ 
ly  fine  quality  and  with  irides¬ 
cent  luster. 

Height.  7 14  inches. 


275 — Powder-blue  Vase  ( K'ang - 
hsi ) 

Cylindrical  shape,  with  tubu¬ 
lar  neck  which  has  been  partially  ground  down.  In¬ 
vested  with  a  monochrome  glaze  of  powder  blue  of 
brilliant  mazarine  quality.  Slight  decoration  of  shrubs 
and  grasses  penciled  in  gold  over  the  glaze. 

Height,  8  inches. 


274 — Cylindrical  R  rush-holder 

(  K'ang -hsi) 

Dense-porcelain.  The  outer 
surface  enameled  with  a  sap¬ 
phire-blue  glaze,  over  which 
is  a  decoration  of  landscape 
and  poem  penciled  in  gold  and 
partially  obliterated. 

Diameter,  3%  inches;  height,  inches. 


Second  Afternoon 


276 — Small  Oviform  Jar  ( Ch'ien-lung ) 

Invested  with  a  monochrome  glaze  of  sapphire  blue  of 
brilliant  quality.  Has  carved  teakwood  cover. 

Height,  4  inches. 


277 — Small  Oviform  Jar  ( Ch'ien-lung ) 

Dense  hard  paste.  Invested  with  a  red  and  purple 
flambe  glaze  of  brilliant  iridescent  quality. 

Height,  5ys  inches. 


278 — Small  Mirror  Black  Vase  ( Ch'ien-lung ) 

Bottle-shape.  Decoration  of  deer,  pine  tree  and  rocks 
penciled  in  gold  on  a  brilliant  glaze. 

Height,  5 y2  inches. 


279 —  Flower-pot  and  Tray  -( Ch'ien-lung ) 

Peony  shape.  Invested  with  a  monochrome  glaze  of 
red,  shading  into  pink. 

Height,  3 y2  inches;  diameter,  6 y>  inches. 

280 —  Pair  Sapphire-blue  Vases  (  Yung... Cheng) 

Flattened  oviform,  with  two  elephant-head  handles  on 
neck.  Coated  with  a  monochrome  glaze  of  sapphire 
blue  of  fine  even  quality. 

Height,  6y>  inches. 


281 —  Porcelain  Bowl  ( K'.ang-hsi ) 

The  outer  and  inner  surface  invested  with  an  auber¬ 
gine  glaze,  evenly  applied. 

Height,  3  inches;  diameter  7 %  inches. 

282 —  Porcelain  Dish  ( Ch'ien-lung ) 

Outer  surface  coated  with  a  sapphire-blue  glaze  and 
the  inner  surface  with  a  pale  celadon  glaze. 

Diameter,  8  inches. 


Second  Afternoon 


283 —  Fukien  China  Feat  Dish  ( Ch'ien-lung ) 

Circular  shape.  Ornamentation  of  floral  design  deli¬ 
cately  etched  in  the  paste,  underneath  the  glaze. 

Diameter,  7%  inches. 

284 —  Pair  Celadon  Galipots  ( K'ang-hsi ) 

Of  graceful  outline.  Invested  with  a  celadon  glaze 
of  pale  sea-green  tint  and  eggshell  surface.  Six- 
character  mark  of  the  period. 

285 —  Fu  Yao  Bottle-shaped  Vase  (cSmtg -) 

Graceful  shape.  Coated  with  a  monochrome  glaze  of 
peacock  green  which  is  applied  over  a  minutely 
crackled  surface. 

Height,  7 yg  inches. 

286 —  Celadon  Vase  ( Ch'ien-lung ) 

Oviform,  with  receding 
bulbous  neck.  The  entire 
outer  surface  is  covered 
with  a  wave  design  and  le¬ 
gendary  figures  worked  in 
relief  in  the  paste  under¬ 
neath  a  translucent  pale 
celadon  glaze. 

Height,  6%  inches. 

28T — Soft-paste  Oviform  Vase 
(K’  ang-hsi) 

Invested  with  a  fine  ivory- 
white  glaze  which  is  boldly 
crackled  and  ornamented 
with  a  deer  gazing  at  the 
moon,  pine  tree  and  other 
designs  worked  in  low  relief 
in  the  paste. 

No.  28G  Height,  7%  inches. 


Second  Afternoon 


288 — Powder-blue  Gleb-shaped  Vase  ( K'ang-hsi ) 

Clear  white  hard  paste.  Invested  with  a  monochrome 
glaze  of  powder  blue  which  is  of  brilliant  quality  and 
evenly  applied. 

Height,  7%  inches. 

—289 — Pear-shaped  Vase  ( K’ang-hsi ) 

With  two  elephant-head  handles  on  neck.  Coated 
with  a  very  brilliant  metallic  brown  glaze  of  lustrous 
quality. 

Height,  6*4  inches. 

290 —  Pair  Powder-blue  Plates  ( K'ang-hsi ) 

Coated  with  a  powder-blue  glaze  of  brilliant  quality 
and  penciled  in  gold  with  flowering  plants,  birds  and 
border  designs.  (One  repaired.) 

Diameter,  4%  inches. 

291 —  Celadon  Bottle  ( Ch’ien-lung ) 

Graceful  pear-shape.  Coated  with  a  pellucid  glaze 
of  sea-green  tint  and  ornamented  in  relief  with  lotus 
in  bloom. 

Height,  8 >4  inches. 


292 — Mirror-black  Vase  (Ch’ien-lung) 

Graceful  oviform,  with  tall  slender  neck.  Coated  with 
a  brilliant  black  glaze  of  brilliant  quality,  over  which 
is  a  decoration  of  two  dragons  pursuing  the  pearl  of 
omnipotence  penciled  in  gold. 

Height,  9  inches. 


293 — Powder-blue  Brush-holder  (K  ’ ang-hsi ) 

Cylindrical  shape.  The  outer  surface  coated  with  a 
monochrome  glaze  of  even  quality. 

Height,  5%  inches;  diameter,  %  inches. 


Second  Afternoon 


294 — Porcelain  Incense  Burner  ( K'mtg-hsi ) 

The  cover  in  the  shape  of  a  reclining  kylin  with  open 
mouth  from  which  the  fume  of  incense  escapes.  Glazed 
with  a  mottled  green  color  of  iridescent  luster. 


Height,  5 y2  inches. 


295 — Turquoise-blue  Bottle  ( Yung  Clicng) 

Bottle  shape,  with  ribbed  surface,  of  basket  design. 
Coated  with  a  monochrome  glaze  of  turquoise  blue. 

Height,  7 y2  inches. 


Second  Afternoon 


296 —  Pair  Quadrilateral  Vases 

With  elephant-head  handles  and  scalloped  lip.  Coated 
with  a  monochrome  glaze  of  brilliant  green. 

Height,  7%  inches. 

297 —  Globular  Jar  ( K’ang-hsi ) 

Coated  with  a  monochrome  glaze  of  sapphire  blue, 
over  which  is  a  tracing  of  a  decoration  of  dragon 
and  phoenix,  penciled  in  gold.  Has  teakwood  stand 
and  cover.  Height,  &y2  inches. 


298 —  Aubergine  Writer’s  Water  Uish 

Fashioned  in  shape  of  half  of  an  eggplant,  the 
stem  forming'  handle.  The  outer  surface  coated  with 
an  aubergine  glaze,  and  the  inner  surface  with  a  green 
souffle  glaze.  Length,  4  inches. 

299 —  Lotus-leaf  Shaped  Water  Bowl  ( Early  Ming) 

Dense  porcelain.  Coated  with  a  red  glaze  with  verdi¬ 
gris  green  variations.  Length,  7  inches. 


Second  Afternoon 


300 —  Rare  Bowl  (Sung) 

Coated  with  a  running  glaze  of  “the  blue  of  the  sky 
after  rain”  and  purple. 

Diameter,  7%  inches. 

301 —  Pottery  Group  (Sung) 

Seated  figure  of  Kwan  Yin,  the  Goddess  of  Mercy, 
and  her  two  boy  attendants.  Coated  with  an  ivory- 
white  glaze  and  decorated  with  black  enamel. 

Height,  10 y>  inches. 


302 — Fukien  China  Statuette  (Ming) 

Seated  figure  of  Kwan  Yin,  the  Goddess  of  Mercy, 
finely  modeled  and  coated  with  an  ivory-white  glaze. 

Height,  8y>  inches. 


303 —  Fukien  China  Statuette  (Ming) 

Kwan  Yin,  the  Goddess  of  Mercy.  She  is  seated  on  a 
rock,  dressed  in  flowing  robes,  and  wears  a  necklace 
and  pendant  of  beads. 

Height,  9  inches. 

304 —  Blanc-de-Chine  Globular  Bowl  (Ch’ien-lung) 
The  outer  surface  ornamented  with  floral  and  leafy 
scrolls  which  are  worked  in  relief  in  the  paste  under¬ 
neath  the  glaze.  Border  and  bands  of  gadroons, 
scepter-head  scrolls  and  Greek  fret,  similarly  treated. 
(Defective.) 

Height,  5 y2  inches;  diameter,  8  inches. 

305 —  Pear-shaped  Vase  (Ch'ien-lung) 

With  trumpet-shaped  neck.  Coated  with  a  mono¬ 
chrome  glaze  of  dark  green,  with  orange  peel  surface. 

Height,  9 ya  inches. 


Second  Afternoon 


30(5 — T  URQUOISE-BLUE  Jar 

Fashioned  after  a  Ming  specimen.  Ornamented  with 
peony  scrolls,  scepter  heads  and  gadroons  worked 
in  relief  in  the  paste,  underneath  a  turquoise-blue 
glaze. 

Height,  9y2  inches. 


307 —  Turquoise-blue  Yase  ( Ch’ien-lung ) 

Oviform,  with  spreading  neck  and  receding  base.  Of 
very  thin  hard  paste  and  invested  with  a  monochrome 
glaze  of  brilliant  turquoise-blue. 

Height,  81/,  inches. 

308 —  Sapphire-blue  Vase  (  Yung  Cheng) 

Graceful  bottle  shape.  Invested  with  a  monochrome 
glaze  of  sapphire  blue  of  brilliant  quality. 

Height,  8y2  inches. 


Second  Afternoon 


309 —  Fukien  China  Vase  ( Ch'ien-lung ) 

Tall  cylindrical  shape,  with  two  lion-head  handles  and 
prunus  in  blossom  and  bird  modeled  in  relief  in  the 
paste. 

Height,  9%  inches. 

310 —  Soft-paste  Dish  ( K'ang-lisi ) 

Low  circular  shape,  on  foot.  Coated  with  an  ivory- 
white  glaze  which  is  crackled  throughout. 

Diameter,  9^  inches. 


311 — Rose-du-Barry  Eggshell  Vase  ( Ch'ien-lung ) 

Of  graceful  oviform,  with 
wide  mouth.  It  is  invested 
with  a  monochrome  glaze  of 
rose-du-Barry,  of  a  quality 
usually  found  on  the  finest 
“Roseback”  eggshell  plates. 
Underneath  the  foot  penciled 
in  coral  red  is  a  seal  mark 
of  the  period. 


313 — Graceful  Bottle  -  shape 
Vase  ( Ch'ien-lung ) 
Globular-shaped  body,  with 
tall  tubular  neck  and  spread¬ 
ing  base.  Invested  with  a 
monochrome  glaze  of  starch  blue  of  fine  even  quality. 


No.  311 


Height,  10%  inches. 

312 — Brilliant  Red  Vase  (Ch'ien- 
lung) 

Tall  oviform.  Of  dense  hard 
paste  and  coated  with  a 
thick  red  glaze. 

Height,  8y2  inches. 


Height,  10%  inches. 


Second  Afternoon 


314 —  Flask-shaped  Ju  Yao  Vase  (Sung) 

With  two  scroll  handles  on  neck.  Corrugated  surface. 
It  is  invested  with  a  monochrome  glaze  of  peacock 
blue  which  is  applied  over  a  fish-roe  crackle  surface. 

Height,  9 y2  inches. 

315 —  White  Porcelain  Plate  ( Ch'ien-lung ) 

Ornamented  with  a  large  chrysanthemum,  and  bordered 
with  floral  scrolls  and  scepter  heads,  all  of  which  are 
beautifully  carved  in  relief  in  the  paste  and  coated 
with  a  soft  white  glaze. 


Diameter,  lO'/i  inches. 


Second  Afternoon 


816 —  Small  I’orcelaix  Flower-pot  (Ming) 

Covered  with  a  fine  green  glaze,  and  fitted  with  a 
flowering  plant  which  has  numerous  large  leaves, 
modeled  in  porcelain  and  coated  with  a  brilliant  green 
glaze,  the  flower  being  enameled  in  purple. 

817 —  Porcelain  Flower-pot  (Ch'ien-lung) 

The  outer  surface  covered  with  a  monochrome  glaze 
of  starch  blue. 


Diameter,  10  inches. 


Second  Afternoon 


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318 —  Quadrilateral  Stoneware  Vase  {Ming) 

Coated  with  a  thick  pale  yellow  or  rose-color  glaze, 
which  is  minutely  crackled  and  ornamented  in  relief 
with  the  mystical  trigram  within  four  upright  panels. 

Height,  10  inches. 

319 —  Celadon  Fish  Bowl  {Ming) 

Low  circular  shape,  on  tripod.  Coated  with  a  sea- 
green  celadon  glaze  under  which  is  a  decoration  incised 
in  the  paste  of  floral  scrolls.  Bears  a  six-character 
mark,  penciled  in  cobalt  blue,  of  the  Cheng-hua  period. 

Diameter,  8%  inches. 


Second  Afternoon 


320 —  Large  Powder-blue  Brush  Jar  ( K'ang-hsi ) 
Cylindrical  shape.  Fashioned  in  dense  sonorous  por¬ 
celain  and  enameled  with  a  powder-blue  glaze. 

Height,  6  inches;  width,  7;4  inches. 

1 

321 —  Celadon  Fish  Bowl  ( Ch'ien-lung ) 

Globular  shape,  with  wide  mouth  and  two  dragons 
modeled  in  high  relief  on  the  edge  of  same.  Invested 
with  a  pellucid  sea-green  glaze  which  is  applied  over 
a  floral  decoration,  cloud  forms  and  a  band  of  gad- 
roons,  all  worked  in  low  relief  in  the  paste. 

Height,  81/,  inches. 

•— — 322 — Quadrilateral  Plant  Jar  ( Ch'ien-lung ) 

The  outer  surface  invested  with  a  monochrome  glaze 
of  cobalt  blue. 

Height,  6%  inches;  diameter,  8%  inches. 


323 —  Powder-blue  Brush  Vase  ( K'ang-hsi ) 

Cylindrical  shape.  Of  dense  hard-paste  porcelain. 
Enameled  with  a  powder-blue  glaze  of  brilliant  quality. 

Height,  (i  inches;  diameter,  7%  inches. 

324 —  Graceful  Celadon  Vase  ( Cli'ien-lung ) 

Oviform,  with  tall  trumpet-shaped  neck.  Coated  with 
a  pale  celadon  glaze,  underneath  which  is  an  elaborate 
decoration  of  peonies  and  leaf  scrolls,  artistically 
worked  in  relief  in  the  paste. 

Height.  12%  inches. 

-325 — Pear-shaped  Vase  ( Ch'ien-lung ) 

With  tall  tubular  neck  which  spreads  at  mouth. 
Coated  with  a  monochrome  glaze  of  liver  color,  which 
is  evenly  applied. 


Height,  10%  inches. 


Second  Afternoon 


326 —  Fukien  Statuette  of  Dai  Mu  (Ming) 

The  Buddhist  apostle  is  in  sitting  posture  with  flow¬ 
ing  robes  concealing  the  hands.  The  expression  is  one 
of  deep  thought  and  reflection. 

Height,  9%  inches. 

327 —  Pair  Beaker-shaped  Vases  (  Ch-ien-hmg ) 

Enameled  with  a  clouded  cobalt-blue  glaze. 

Height,  10%  inches. 

328 —  Oviform  Vase  ( Ch'ien-lung ) 

Invested  with  a  monochrome  glaze  of  mottled  green 
applied  over  a  crackle  surface. 

Height,  10y2  inches. 

329 —  Beaker-shaped  Vase  (  Yung  Cheng ) 

Invested  with  a  monochrome  glaze  of  brilliant  sap¬ 
phire-blue. 


Height,  11  inches. 


Second  Afternoon 


380 — Fukien  Porcelain  Figure  of  Ivwan  Yin 


Goddess  of  Mercy.  Beauti¬ 
fully  modeled  and  coated  with 
ivory-white  glaze.  She  stands 
on  a  pedestal  of  cloud  form 
and  is  dressed  in  flowing  robes, 
and  wears  a  necklace  in  the 
center  of  which  is  an  elaborate 
pendant.  In  her  left  hand  she 
holds  a  sacred  scroll. 


Height,  15%  inches. 


331 — Bottle-shaped  Vase  ( Ch'ien - 
lung) 

With  grooved  body  and  bul¬ 
bous  mouth.  Coated  with  a 
turquoise-blue  glaze  and  exhib¬ 
iting  metallic  spots. 

Height,,  12  inches. 


332 — Large  Celadon  Vase  ( Ch'ien - 
lung) 

Globular  body,  with  flaring 
neck  and  receding  base.  On 
No.  330  the  neck  are  two  handles  in 

relief  and  openwork  designs  of 
cloud  forms.  Decoration  of  chrysanthemums  and 
rockery  in  white  slip.  Invested  with  a  pellucid  sea- 
green  glaze.  Seal  mark  underneath  the  foot. 


Height,  13  inches. 


333 — Pear-shaped  Vase  (Yum/  Cheng) 

With  tall  slender  tubular  neck.  Coated  with  a  bril¬ 
liant  dark  brown  glaze  with  minute  tea-dust  aspects. 

Height,  14%  inches. 


Second  Afternoon 


334 —  Blanc-de-Chine  Cylindrical  Vase  ( Ch'ien-lung ) 
Decoration,  worked  in  low  relief  in  the  paste,  of  two 
four-clawed  dragons  on  an  engraved  ground  of  wave 
design  underneath  an  ivory-white  glaze. 

Height,  12'4  inches. 

335 —  Rare  Turquoise  Incense  Burner  (Ming)- 
Quadrilateral  shape,  with  projecting  edges  and  sup¬ 
ported  by  four  lion  heads.  The  cover,  of  dome  shape, 
is  surmounted  by  a  seated  kylin.  The  ornamentation, 
which  is  carved  in  relief  in  the  paste,  consists  of  the 
swastika  fret,  ogre  heads,  symbols  of  longevity  and 
archaic  designs.  A  similar  design  embellishes  the 
cover,  which  also  has  perforated  panels.  Underneath 
is  an  incised  mark  of  the  Hsuen  Te  period. 

Height,  9  inches. 

( Illustrated ) 

336—  Pottery  Statuette  (Ming) 

Modeled  in  earthenware  and  coated  with  a  running 
glaze  of  clair-de-lune  type.  The  face,  chest  and  hand 
unglazed. 

Height,  12y,  inches. 

336a — Fukien  China  Dish  ( Ch’ien-lung ) 

Deep  form.  Decoration  delicately  etched  in  the  paste 
under  a  brilliant  white  glaze. 

Diameter,  12  inches. 

337 —  Turquoise-blue  Bottle  ( Ch'ien-lung ) 

Globular  body,  with  tall  slender  tubular  neck.  Coated 
with  a  turquoise-blue  glaze  of  brilliant  quality  ap¬ 
plied  over  a  fish-roe  crackle. 

Height,  12y>  inches. 

338 —  Bottle-shaped  Vase  ( Ch'ien-lung ) 

Of  graceful  shape,  with  bulbous  mouth.  Coated  with 
a  monochrome  glaze  of  iridescent  brown  over  which 
is  a  tea-dust  souffle.  Height,  12y2  inches. 


No.  335 


S eco n d  A fter noon 


339 — Celadon  Plate  (Ming) 

Dense  porcelain.  Decoration  of  flowers  and  leaves 
worked  in  low  relief  in  the  paste  under  a  sea-green 
celadon  glaze  which  is  boldly  crackled  throughout. 

Diameter,  13  inches. 


340 — Blanc-de-Chine  Vase  ( Ch’ien-lung ) 

Fashioned  after  an  ancient  bronze.  Invested  with  an 
ivory-white  glaze  of  pellucid  quality  and  ornamented 
with  a  band  of  phoenixes  and  cloud  forms  and  two 
monster-head  ring  handles,  modeled  in  relief  in  the 
paste.  Height,  14%  inches. 


Second  Afternoon 


341 —  Bottle-shaped  Vase  ( Ch’ien-lung ) 

Dense  hard  paste.  Invested  with  a  brilliant  red  glaze 
shading  into  purple.  The  neck  has  been  ground  down. 

Height,  15  inches. 

342 —  Sapphire-blue  Pear-shaped  Vase  ( Ch’ien-lung ) 

Of  graceful  outline  and  with  tall  slender  tubular  neck. 
It  is  invested  with  a  monochrome  glaze  of  sapphire- 
blue,  with  mottling  in  a  darker  shade.  Underneath  the 
foot  a  seal  mark  of  the  period. 

Height,  16  inches. 

343 —  Bottle -shaped  Vase  ( Ch’ien-lung ) 

With  flanged  mouth,  of  dense  hard  paste,  and  enameled 
with  a  brilliant  red  glaze. 

Height,  16 14  inches. 

344 —  Flambe  Pear-shaped  Vase  (Ch’ien-lung) 

Graceful  form,  with  spreading  mouth.  Invested  with 
a  flambe  glaze  of  various  shades  of  purple,  clair-de- 
lune  and  dark  red. 

Height,  16  inches. 

DECORATED  PORCELAINS 

345 —  Pair  Eggshell  Wine  Cups  ( K’ang-hsi ) 

Decorated  with  kylins  and  floral  borders  in  enamel 
colors  of  the  famille  rerte. 

346 —  Small  Cup-plate  ( Ch’ien-lung ) 

Buddhistic  symbols,  inscriptions,  fret  and  floral  de¬ 
signs  painted  in  brilliant  enamel  colors  and  gilding. 

347 —  Pair  Chicken  Bowls  ( K'ang-hsi ) 

Thin  white  porcelain,  with  fowl,  flowers  and  rockery 
delicately  painted  in  enamel  colors  and  enamel  blue. 
Six-character  mark  of  the  period. 

Diameter ,  3r4  inches. 


Second  Afternoon 


348 —  Small  Decorated  Saucer  ( Yung  Cheng) 

Floral  designs  in  enamel  colors  of  the  famille  rose. 
Cobalt-blue  border. 

349 —  Celadon  Rouge  Box  fGWien-lung) 

Shape  of  a  bamboo  joint  and  decorated  with  Chinese 
poem. 

350 —  Sacrificial  Cup  ( Cliien-lung ) 

Floral  disks  and  Greek  fret  penciled  in  aubergine  on 
an  eggshell  surface.  Fungi  feet. 

351 —  Miniature  Bottle-shaped  Vase  ( Ch'ien-lung ) 
Decorated  with  figure  of  a  woman  reclining  on  a 
large  leaf  painted  in  brilliant  enamel  colors. 

352 —  Miniature  Quadrilateral  Vase  ( Ch'ien-lung ) 
Decorated  in  enamel  colors  with  birds  and  flowering 
plants. 

353 —  Small  Flower  Pot  ( Cliien-lung ) 

Clouded  green  glaze,  and  four  reserve  panels  with  wild 
geese,  penciled  in  coral  red. 

Height,  3  inches. 

354 —  Small  Pear-shaped  Vase  ( Ch'ien-lung ) 

Decorated  with  phoenixes  and  cloud  forms,  painted  in 
brilliant  enamel  colors. 

Height,  4 i/3  inches. 

355 —  Small  Perfume  Burner  ( Ch'ien-lung ) 

Speckled  blue  ground,  with  landscape  painted  within 
two  panels.  Gilded  feet  and  handles.  Has  teakwood 
stand  and  cover. 


Second  Afternoon 


356 —  Small  Quadrilateral  Vase  ( Ch’ien-lung ) 

Coated  with  a  robin’s-egg  blue  glaze  and  decorated 
with  archaic  dragons  and  other  designs  which  are 
modeled  in  relief  and  gilded.  Seal  mark  penciled  in 
gold. 

Height,  ■V,/2  inches. 

357 —  Writer’s  Water  Receptacle  ( Ch’ien-lung ) 

Modeled  and  enameled  to  resemble  a  lotus  bud. 

Height,  2ys  inches. 


358 —  Small  Shau-shing  Vase  (  Yung  Cheng ) 

Bottle  shape.  Decoration  of  floral  sprays  and  lizard 
in  enamel  colors  on  an  unglazed  buff-color  ground. 

Height,  inches. 

359 —  Small  Oviform  Jar  ( K’ang-hsi ) 

Tree  peonies  and  rockeries  worked  in  relief  in  the 
paste  and  enameled  in  red,  green  and  gilding. 

Height,  4 14  inches. 

360 —  Porcelain  Brush  Rest  ( K’ang-hsi ) 

Modeled  in  the  shape  of  a  five-peaked  mountain  with 
a  monastery  in  the  foreground  and  enameled  in  auber¬ 
gine,  yellow  and  green.  Has  teakwood  stand. 

361 —  Pair  Tall  Trumpet-shaped  Cups  ( Yung  Clung) 
Very  thin  porcelain.  Decorated  with  blossoming 
sprays,  delicately  painted  in  rose  pink  and  sage  green. 
Have  teakwood  stands. 

Height,  3%  inches. 

362 —  Small  Pear-shaped  Vase  ( Ch'ien-lung ) 

Finely  painted  figures  of  ladies  and  children  in  garden, 
in  two  reserve  panels.  Chocolate  colored  ground,  with 
floral  and  leaf  scrolls  penciled  in  gold. 

Height,  51/,  inches. 


Second  Afternoon 


363 — Amphora-shaped  Vase  ( K'ang-hsi ) 

With  tripod  base.  Decorated  with 
figures  of  five  sages,  painted  in  bril¬ 
liant  yellow,  outlined  with  brown,  on 
an  unglazed  surface. 

Height,  6%  inches. 

364 —  Small  Porcelain  Dish  ( K'ang - 
7m) 

On  a  high  foot.  Decorated  with  the 
figure  “God  of  Harmony,”  wave  and 
floral  designs  in  brilliant  enamel 
colors. 

Diameter,  4*4  inches. 

365 —  Octagonal  Rouge  Box  ( Cli'ien - 
lung ) 

Decorated  with  floral  scrolls  in 
underglaze  blue  and  a  reserve  panel 
of  ornaments  and  blossoming 
sprays,  exquisitely  painted  in 
enamel  colors  and  gilding. 

Diameter,  3%  inches. 


No.  363 


366 —  Imperial  Dish  ( Ch’ien-lung ) 

The  inner  surface  covered  with  a  design  of  gourd  vine 
in  bearing  delicately  painted  in  low  tones  of  enamel 
colors.  The  outer  surface  invested  with  an  imperial 
yellow  glaze,  over  which  is  a  gourd  vine  in  bearing  in 
enamel  colors  and  four  reserve  panels  containing  lan¬ 
terns  and  various  ornaments. 

Diameter,  6%  inches. 

367 —  Writer’s  Water  Dish  ( Ch'ien-lung ) 

Decoration  of  floral  scrolls  and  border  of  scepter 
heads  in  enamel  colors  and  underglaze  blue. 

Diameter,  5%  inches. 


Second  Afternoon 


368 —  Rectangular  Dish  ( Ch’ien-lung ) 

The  interior  decorated  with  floral  sprays  which  are 
divided  by  raised  ridges  and  the  outer  surface  covered 
with  a  fret  pattern  with  Shou  symbols  in  coral  red 
and  gilding.  Has  teakwood  stand. 

Height,  2  inches;  4  inches  square. 

369 —  Two  Small  Bowls  ( Ch'ien-lung ) 

The  interior  decorated  with  butterflies,  fruits  and  flow¬ 
ers  in  enamel  colors,  gilding  and  underglaze  blue;  the 
outer  surface  glazed  to  resemble  red  agate. 

Diameter,  4%  inches. 


370 — Pair  Imperial  Bowls  ( K’ang-hsi ) 

Semi-eggshell  porcelain.  The  outer  surface  coated 
with  a  brilliant  translucent  glaze  and  decorated  with 
five-clawed  dragons  pursuing  the  pearl  of  omnipotence, 
etched  in  the  paste  and  invested  with  an  aubergine 
glaze. 

Diameter,  4%  inches. 


371 — Small  Pear-shaped  Vase  (K’avg-hsi) 

Decoration  of  mystical  animals,  wave  designs  and 
rocks,  painted  in  rouge-de-cuivre.  Has  teakwood 
stand. 

Height,  5  inches. 


372 —  Pair  Decorated  Bowls  ( Cli'ien-lung ) 

The  outer  surface  decorated  with  five-clawed  dragons, 
phoenixes,  fire  emblems  and  the  sacred  pearl,  finely 
penciled  in  coral  red.  Border  designs  in  turquoise- 
blue  and  yellow  enamels. 

Diameter,  4*4  inches. 

373 —  Tall  Oviform  Vase  ( Ch'icn-htrtg ) 

Grapevine  and  squirrel  worked  in  relief  and  enameled. 

Height,  6*/,  inches. 


Second  Afternoon 


874—  Small  Bottle-shaped  Vase  ( Ch’ien-lung ) 

Figure  and  landscapes,  exquisitely  painted  in  brilliant 
enamel  colors,  in  reserve  panels ;  floral  designs  in 
underglaze  blue. 

Height,  5 %  inches. 

875 —  Small  Cylindrical  Vase  ( Ch’ien-lung ) 

Lilies,  blossoms  and  border  designs  painted  in  under¬ 
glaze  blue  and  peaehbloom  tint. 

Height,  6 y„  inches. 

376 —  Pear-shaped  Vase  ( K’ang-hsi ) 

Decoration  of  dragons  amid  cloud  forms  painted  in 
underglaze  blue,  in  green  and  red  enamels. 

Height,  6  inches. 

377 —  Small  Oviform  Vase  ( Ch’ien-lung ) 

Tree  peonies  painted  in  brilliant  enamel  colors. 

Height,  6%  inches. 

378 —  Oviform  Vase  ( Ch’ien-lung ) 

Coated  with  an  apple-green  glaze  the  surface  of  which 
has  been  etched  with  scrolls ;  and  decorated  with  chrys¬ 
anthemums  in  bloom,  painted  in  enamel  colors. 

Height,  6%  inches. 

379 —  Decorated  Galipot  ( Ch’ien-lung ) 

Invested  with  a  rose-pink  crackle  glaze  and  decorated 
with  flowers  of  paradise,  leaf  scrolls  and  Shou  symbol, 
painted  in  brilliant  enamel  colors  and  gilding.  Has 
two  elephant-head  and  loose  ring  handles  on  shoulder. 
Seal  mark  of  the  period. 

Height,  6%  inches. 

380 —  Five-color  Jar  (Ming) 

Oviform,  with  short  neck.  Fabulous  monsters,  scrolls 
and  symbols  painted  in  brilliant  red  and  green,  and 
yellow,  purple  and  black. 

Height,  6y4  inches. 


Second  Afternoon 


381 — Porcelain  Statuette  ( Ch'ien-lung ) 

A  tiger  seated.  Decorated  in  copper  red  and  bleu-de- 
Narikin. 

Height,  6  inches. 


382 — Small  Bottle-shaped  Vase  ( Ch'ien-lung ) 

With  tall  flaring  neck.  Floral 
sprays  finely  painted  in  bril¬ 
liant  enamel  colors  on  a  gilded 
surface. 

Height,  6%  inches. 


38-t — Pear  -  shaped  Vase  (  Yung 

Cheng) 

With  flanged  lip.  Coated  with 
a  pale  celadon  glaze  and  deco¬ 
rated  with  the  figure  of  the 
No.  382  God  of  Longevity  and  his  at¬ 

tendant,  in  brilliant  enamel 
colors  of  the  famille  rose. 


383 — Pear  -  shaped  Vase  (  Yung 

Cheng ) 

With  flaring  neck.  Decorated 
with  various  ornaments  in  bril¬ 
liant  enamel  colors  of  the 
famille  rose. 

Height,  7y2  inches. 


Height,  7y2  inches. 


-385 — Globular  Bowl  ( K'ang-hsi ) 

On  a  high  foot.  Dragons,  fire  emblems  and  cloud 
forms  painted  in  the  enamel  colors  of  the  famille 
verte. 


Height,  5%  inches;  diameter,  4%  inches. 


Second  Afternoon 


386 —  Pear-shaped  Vase  ( Ch’ien-lung ) 

Coated  with  a  clair-de-lune  crackle  glaze  over  which 
is  a  decoration  of  flowering  plants  in  low  tones  of 
light  brown  and  green. 

Height,  7 y2  inches. 

387 —  Writer’s  Water  Dish  ( Ch’ien-lung ) 

Decoration  of  flowers  and  vines  in  underglaze  blue 
and  peachbloom  tint,  over  a  celadon  glaze. 

388 —  Cylindrical  Brush  Vase  ( Yung  Clieng ) 

Decoration  of  figures  of  warriors  and  flowering  plants 
in  the  brilliant  enamel  colors  of  the  famille  rose. 

Height,  4%  inches;  diameter,  3%  inches. 

389 —  Lozenge-shaped  Brush-holder  ( Yung  Clieng) 

Four  upright  depressed  panels  are  decorated  with  fig¬ 
ures  of  mandarins  and  children  in  brilliant  enamel 
colors  and  coral  red. 

Height,  6%  inches. 

390 —  Cylindrical  Brush  Vase  ( Yung  Clieng) 

Garden  scene,  with  figures  of  a  Chinese  lady  and  her 
attendant  painted  in  enamel  colors  of  the  famille  rose. 

Height,  5%  inches;  diameter,  4  inches. 

391 —  Cylindrical  Brush  Vase  ( K’ang-hsi ) 

Chinese  legendary  subjects,  finely  painted  in  the  five- 
colored  enamels. 

Height,  5%  inches;  diameter,  4 y8  inches. 


-392 — Pair  Writer’s  Water  Receptacles  ( Ch’ien-lung ) 
The  outer  casing  perforated  and  enameled  in  designs 
of  the  flowers  of  the  four  seasons,  and  the  edges  in 
brilliant  sapphire  blue.  A  lizard  is  modeled  in  relief 
and  gilded. 


Second  Afternoon 


393 —  Oviform  Vase  ( Ch-'ien-lung ) 

With  receding  base  and  flaring  mouth.  Decorated 
with  a  boating  scene,  figures  of  dignitaries,  rockeries 
and  other  designs  finely  painted  in  coral-red  and  gilt 
outlines. 

Height,  8  inches. 

394 —  Pair  Wall  Vases  ( Cli'ien-lung ) 

Gourd  shape.  Etched  apple-green  ground,  with  floral 
sprays  painted  in  various  enamel  colors. 

Height.,  6  inches. 

395 —  Pair  Porcelain  Cricket  Cages  {Cli'ien-lung) 

Three  panels  of  pierced  design.  Coated  with  a  tur¬ 
quoise-green  glaze,  the  top  panels  decorated  with 
Chinese  garden  and  domestic  scenes  painted  in  enamel 
colors. 


Height,  8  inches. 


Second  Afternoon 


396 —  Small  Oviform  Vase  ( Cli’ien-lung ) 

Of  graceful  shape  and  finished  technique.  It  is  of 
clear  white  hard-paste  and  exquisitely  decorated  with 
figures  of  the  eight  immortals  and  their  attributes 
executed  in  finely  combined  enamel  colors,  enhanced 
by  gilding. 

Height,  8  inches. 

397 —  -Oviform  Vase  (  Yung  Cheng ) 

With  low  foot  and  wide  mouth.  Invested  with  a  pale 
celadon  glaze,  over  which  is  a  decoration  of  a  floral 
bouquet  exquisitely  painted  in  enamel  colors. 

Height,  7y+  inches. 

398 —  Small  Beaker  (  Yung  Clieng ) 

Dense  hard  paste.  Tree  peonies  painted  in  brilliant 
enamel  colors  of  the  famille  rose. 


Height,  8 y8  inches. 


Second  Afternoon 


399 — Soft-paste  Pear-shaped  Vase  (K-  ang-hsi) 

Receding  base  and  boldly  flaring  mouth.  Coated  with 
an  ivory-white  crackle  glaze  and  decorated  with  clus¬ 
ters  of  pomegranates  in  rouge-de-cuivre  and  under¬ 
glaze  blue.  Underneath  the  foot,  a  six-character  mark 
of  the  period. 

Height,  9  inches. 


400 — Table  Screen  ( K'ang-hsi ) 

Carved  teakwood,  with  porcelain  panel  which  is  deco¬ 
rated  with  a  figure  of  a  Chinese  lady  and  her  child 
painted  in  brilliant  enamel  colors  of  the  famille  rerte. 

Height,  13  inches;  width,  7  inches. 


Second  Afternoon 


401—  F  our  Famille  Verte  Porcelain  Tiles  ( K’ang-hsi ) 
Oblong  shape.  Decorated  with  various  ornaments, 
known  as  the  “Hundred  Antiques,”  in  brilliant  five- 
color  enamels. 

Length,  8  inches;  width,  2%  inches. 

402-  — Statuette  of  the  Goddess  of  Mercy  ( CJi’ien-lung ) 

In  sitting  posture  in  flowing  robes.  Finely  modeled 
and  enameled  in  various  enamels. 

Height,  9  inches. 


403 — Pear-shaped  Vase  (  Ch’ien-lung) 

On  tall  foot  and  with  two  scroll  and  ring  handles. 
Dragons,  phoenixes,  cloud  forms  and  border  designs 
painted  in  underglaze  blue  and  coral  red. 

Height,  8%  inches. 


404 — Small  Beaker-shaped  Vase  ( K’ang-hsi ) 

Decorated  with  floral  designs  and  butterflies  in  the 
enamel  colors  of  the  famille  verte. 

Height,  7%  inches. 


405 — Pear-shaped  Vase  ( K’ang-hsi ) 

Invested  with  a  monochrome  glaze  of  raven’s  wing 
black  and  decorated  with  a  legendary  subject  in  the 
enamel  colors  of  the  famille  verte. 


Height,  9%  inches. 


Second  Afternoon 


406 — Oviform  Vase  (  Ch'ien-lung) 

Of  graceful  shape  and  of  thin  porcelain.  Invested 
with  a  robin’s-egg  blue  souffle  glaze  over  which  is  a 
decoration  of  tree  peonies  and  a  rich-plumaged  bird, 
finely  painted  in  brilliant  enamel  colors. 

Height,  9%  inches. 


407 — Apple-green  Vase  ( Ch'ien-lung ) 

Graceful  pear  shape.  Coated  with  a  monochrome 
glaze  of  apple-green  which  is  minutely  crackled  and 
decorated  in  black  with  figures  of  a  nobleman  and 
attendants,  willow  tree  and  boating  scene. 


Height,  8  inches. 


Second  Afternoon 


410 —  Unique  Galipot  ( K’ang-hsi ) 

Of  graceful  shape  and  finished  technique.  It  is  in¬ 
vested  with  a  monochrome  glaze  of  camellia-leaf  green 
of  brilliant  iridescent  quality.  Round  the  shoulder 
are  three  butterflies,  carved  in  low  relief  in  the  paste 
and  enameled  with  aubergine,  wellow,  green  and  white. 

Height,  7%  inches. 

411 —  Writer’s  Water  Dish  (  Y-mtg  Cheng ) 

Oval  shape  and  of  dense  hard  paste.  The  inner  sur¬ 
face  decorated  with  goldfish,  water  plants  and  wis¬ 
taria,  painted  in  enamel  color,  coral  red  and  gilding. 
Has  tall  teakwood  stand. 


Length.  7 y4  inches. 


Second  Afternoon 


Hbl2 — Decorated  Jar  (-K'auy-lxviy 

Inverted  pear-shape.  It  is  of  clear  white  hard  paste 
and  beautifully  embellished  in  brilliant  enamel  colors 
of  the  famille  verte,  with  reserves  of  blossoming  trees, 
birds  and  landscapes,  these  reserves  being  intercepted 
by  floral  scrolls  painted  in  coral  red  on  a  shark-skin 
ground.  Encircling  the  shoulder  is  a  band  of  diaper 
pattern  and  reserves  of  Buddhistic  symbols. 

Height,  8 y2  inches. 


413 — Decorated  Cylindrical  Vase  (Yung  Cheng) 

Butterflies  and  flowering  plants,  beautifully  painted 
in  the  brilliant  enamel  colors  of  the  famille  rose. 


Second  Afternoon 


414 — Decorated  Pear-shaped  Vase  (Yung  Cheng) 

Profusely  and  artistically  painted,  with  floral  scrolls 
and  band  in  brilliant  enamel  colors  and  underglaze 
blue.  On  the  shoulder,  modeled  in  Relief,  are  two 
monster-head  and  ring  handles.  Seal  mark^under- 
neath  the  foot. 

Height,  8 %  inches. 


415 —  Powder-blue  Club-shaped  Vase  ( K’ang-lisi ) 
Invested  with  a  powder-blue  glaze  of  clouded  quality, 
over  which  are  slight  traces  of  a  decoration  in  gilding. 

Height,  8 %  inches. 

416 —  Pear-shaped  Vase  ( Ch’ien-lung ) 

Elaborately  decorated  in  rouge-de-fer  with  symbols  of 
long  life,  happiness  and  fertility.  Encircling  the 
shoulder  and  neck  are  bands  of  scepter-head  scrolls, 
upright  palmettes  and  festoons  of  jewels,  hung  with 
pendeloques. 

Height,  10%  inches. 


4T7 — Tall  Oviform  Vase  (Yung  Cheng) 

Thin  hard  paste.  Beautifully  decorated  with  tree 
peonies  in  coral  red,  leaf  green  and  underglaze  blue, 
enhanced  by  gilding. 

Height,  11%  inches. 


418 — Pair  Wall  Vases  (Yung  Cheng) 

Modeled  in  the  shape  of  a  carp  and  invested  with  a 
coral-red  glaze.  The  scales,  fins  and  tail  outlined 
with  gilding. 


Height,  10%  inches. 


Second  Afternoon 


419 —  Graceful  Oviform  Vase  ( Ch'ien-lung ) 

Of  thin  white  porcelain  and  finished  technique.  On  a 
ground  of  swastika  fret,  which  is  enameled  in  low  re¬ 
lief  in  blue,  are  six  reserve  panels  of  various  shapes, 
within  which  are  birds  and  flowers,  exquisitely  painted 
in  beautifully  combined  enameled  colors.  Distributed 
over  the  body  of  the  vase  and  neck  are  Buddhistic  sym¬ 
bols  of  “Happy  Augury”  and  flying  bats,  executed  in 
coral  red  and  gilding.  Seal  mark  penciled  in  gold. 

Height,  10  inches. 

420 —  Pear-shaped  Vase  ( Ch'ien-lung ) 

Dense  hard  paste,  and  of  graceful  shape.  Coated  with 
an  apple-green  glaze  and  decorated  with  chrysanthe¬ 
mums  and  butterfly,  beautifully  painted  in  delicate 
enamel  colors.  Seal  mark  underneath  the  foot. 


Height,  12%  inches. 


Second  Afternoon 


421 — Coral-red  Bottle-shaped  Vase  (Yung-Cheng) 

Of  clear  white,  thin  hard  paste.  Invested  with  a  coral- 
red  glaze  of  even  quality  and  decorated  in  underglaze 
blue  with  numerous  dragons  and  cloud  forms.  Six- 
character  mark  of  the  period  underneath  the  foot. 

Height,  11%  inches. 


422 — Decorated  Pear-shaped  Vase  ( Ch’ien-lung ) 

Thin  white  hard  paste.  Decoration  of  mountain 
scenery,  landscape  and  river  view,  with  figure  of  boy 
and  deer,  finely  painted  in  enamel  colors.  Encircling 
the  neck  is  a  four-clawed  dragon  in  yellow  and  green, 
with  cloud  forms  in  white  enamel. 


Height,  12 y2  inches. 


Second  Afternoon 


423 — Powder-blue  Vase  ( K’ang-hsi ) 

Pear-shape,  with  broad  mouth  and  spreading  base. 
Covered  with  a  powder-blue  glaze  of  brilliant  quality 
over  which  is  a  decoration  and  bands  of  palmettes 
and  gilding. 

Height,  9%  inches. 


424 —  Imperial  Chinese  Vase  (Ch’ien-hmg) 

Graceful  oviform,  with  trumpet-shaped  neck.  The 
body  of  the  vase  is  carved  in  relief  with  swastika  fret 
and  gilded,  and  embellished  with  four  circular-shaped 
raised  panels  which  are  decorated  with  exquisitely 
painted  figures,  legendary  subjects  and  landscapes. 
Round  the  shoulder  is  a  band  of  scepter-head  scrolls 
worked  in  relief  and  brilliantly  enameled,  and  en¬ 
circling  the  neck  are  palmettes  similarly  treated. 
Under  the  foot,  penciled  in  gold,  is  a  seal  of  the  im¬ 
perial  family. 

Height,  11%  inches. 

425 —  Decorated  Imperial  Vase  ( Ch'ien-lung ) 

Graceful  pear-shape.  Invested  with  a  pale  yellow 
glaze  and  elaborately  decorated  with  storks,  sym¬ 
bolical  bats,  floral  scrolls  and  Shou  symbols,  executed 
in  various  enamel  colors  and  gilding.  Encircling  the 
neck,  modeled  in  bold  relief,  is  a  dragon  enameled  in 
coral  red. 

Height,  13%  inches. 


426 — Globular  Jar  with  Cover  (  Yjmg— Cheng ) 

Elaborately  decorated  in  brilliant  enamel  colors  of 
the  famille  rose  with  the  embellishments  known  as  the 
“Hundred  Antiques,”  Buddhistic  symbols  of  Happy 
Augury  and  rich  border  design. 

Height,  8  inches;  diameter,  9  inches. 


Second  Afternoon 


427 — Decorated  Jar  ( Yung  Cheng ) 

Globular  shape.  Decoration  of  the  “Hundred  An¬ 
tiques”  penciled  in  low  tones  of  enamel  colors,  outlined 
with  black. 

Height,  8%  inches. 

428’ — Brilliant  Blue  Vase  (Ck'ien-lung) 

Quadrilateral  shape,  with  two  elephant-head  and  ring 
handles  modeled  in  relief.  It  is  of  dense  hard  paste 
and  invested  with  a  monochrome  glaze  of  brilliant  sap¬ 
phire-blue,  over  which  is  a  decoration  of  blooming 
shrubs,  butterflies  and  other  designs  penciled  in  gold. 

Height,  11%  inches. 

429 —  Hexagonal  Jar  with  Cover  ( Ch’ien-lung ) 

Dense  porcelain.  Invested  with  a  brilliant  yellow 
glaze  and  embellished  with  various  ornaments,  floral 
designs  and  symbols  which  are  worked  in  relief  and 
decorated  in  brilliant  enamel  colors. 

Height,  12%  inches. 

430 —  Imperial  Chinese  Vase  ( Ch’ien-lung ) 

Graceful  pear-shape,  with  receding  base  and  tall  trum¬ 
pet-shaped  neck  on  which  are  two  elephant  and  loose 
ring  handles.  It  is  enameled  with  a  chocolate-color 
glaze  over  which  is  a  decoration  in  gold  to  resemble 
damascening.  In  two  large  and  various  small  re¬ 
serve  panels  are  Chinese  domestic  and  equestrian 
scenes,  landscape  and  symbols,  beautifully  painted  in 
finely  combined  enamel  colors.  Seal  mark  underneath 
the  foot. 

Height,  1G  inches. 

433 — Pair  Decorated  Temple  Jars  {Ming) 

Ovoid  shape,  with  broad  mouth  and  their  original  hat¬ 
shaped  covers.  Decorated  in  the  brilliant  five-color 
enamels  with  peonies,  fabulous  animals  and  leaf  scrolls. 
(One  cover  repaired.) 


Height,  14%  inches. 


Second  Afternoon 


434 — Tall  Oviform  Vase  ( Ch'ien-lwng ) 

With  broad,  flaring  mouth.  Enameled  with  a  mono¬ 
chrome  glaze  of  clouded  blue  and  decorated  with  pea¬ 
cock,  floral  sprays  and  butterflies  in  gilding  applied 
over  the  glaze.  Encircling  the  neck,  worked  in  relief, 
is  a  four-clawed  dragon. 

Height,  14%  inches. 


435 — Brilliant  Mirror-black  Jar  ( K'ang-lisi ) 

Ovoid  shape,  with  spreading  base  and  broad  mouth. 
It  is  of  dense  hard  paste  and  enameled  with  a  mono¬ 
chrome  glaze  of  mirror  or  raven’s  wing  black  of  bril¬ 
liant  quality.  The  embellishment,  which  is  etched  in 
the  paste  and  enameled  in  yellow,  aubergine  and  green, 
consists  of  the  mystical  lion,  sporting  with  brocade 
balls,  cloud  forms  and  symbols.  Has  carved  teakwood 
stand  and  cover.  Height,  10y2  inches. 


Second  Afternoon 


Two  scroll  handles  of  coral  red  on  neck.  It  is  elabor¬ 
ately  embellished  with  garden  scenes  and  numerous 
figures  of  richly  robed  Chinese  ladies,  dignitaries  and 
other  figures  finely  painted  in  richly  combined  enam¬ 
eled  colors.  Seal  mark  underneath  the  foot. 


Height,  !Syg  inches. 


Second  Afternoon 


437 — Apple-green  Temple  Jar 

Ovoid  shape,  with  spreading  base  and  short  neck. 
Coated  with  an  apple-green  glaze  and  decorated  with 
tree  peonies,  lotus  in  bloom,  phoenixes,  aquatic  birds 
and  butterflies,  all  of  which  are  etched  in  the  paste 
and  enameled  in  aubergine,  yellow  and  dark  green  and 
outlined  with  black. 


Height,  13  inches. 


Second  Afternoon 


438 — Beaker-shaped  Vase  (  Yung  Cheng) 

Cylindrical  body,  with  broad,  flaring  neck  and  mouth. 
Decorated  with  Chinese  boating  scene  and  legendary 
subjects,  painted  in  brilliant  enamel  colors  of  the 
famille  rose. 

Height,  14%  inches. 


439 — Decorated  Vase  ( Yung  Cheng) 

Beaker  shape,  with  broad  mouth.  Embellished  with 
figures  of  Fu-Lu-Shou — the  three  star  gods — painted 
in  brilliant  enamel  colors. 

Height,  14%  inches. 


440 — Tall  Graceful  Oviform  Vase  ( Cli'ien-lung ) 

Of  clear  white  hard  paste.  Profusely  decollated  with 
floral  scrolls,  exquisitely  executed  in  coral  red  over 
the  glaze.  Seal  mark  underneath  the  foot. 

Height,  17^4  inches. 


441 — Decorated  Vase  (  Yung  Cheng) 

Beaker  shape,  with  broad  mouth.  Finely  decorated 
in  enamel  colors  of  the  famille  rose,  with  various  orna¬ 
ments  containing  flowers. 

Height,  15%  inches. 


442 — Decorated  Porcelain  Vase  (Ch'ien-lwng) 

Graceful  tall  slender  shape,  with  trumpet  neck.  The 
ground  is  of  brilliant  powder-blue  and  the  decora¬ 
tion,  which  is  finely  painted  in  delicately  combined 
enamel  colors,  consists  of  numerous  figures  of  imperial 
personages  and  ceremonial  and  domestic  scenes  within 
leaf  and  lozenge-shaped  reserves.  Seal  mark  of  the 
period. 


Height,  18  inches. 


Second  Afternoon 


443 —  Powder-blue  Bottle-shaped  A'ase  (K? ttn-gJtsi) 
Globular  body,  with  tall  slender  tubular  neck.  In¬ 
vested  with  a  powder-blue  glaze  of  brilliant  mazarine 
quality,  over  which  is  a  decoration  in  gilding  within. 

Height,  17%  inches. 

444 —  Powder-blue  Beaker-shaped  Vase  ( K'ang-hsi ) 
Invested  with  a  monochrome  glaze  of  powder-blue  over 
which  are  traces  of  a  decoration  in  gilding.  (De¬ 
fective  on  flange.) 

Height,  17%  inches. 

445 —  P  OWDER-BLUE  YaSE  (  Ch’ieil-lu  tig) 

Tall  oviform,  with  trumpet-shaped  neck.  It  is  invested 
with  a  brilliant  powder-blue  glaze  and  decorated  with 
four  large  carp  painted  in  coral  red  and  outlined  with 
gilding. 


Height,  18  inches. 


Second  Afternoon 


446 —  Powder-blue  Club-shaped  Vase  ( K’ang-lisi ) 

Coated  with  a  powder-blue  glaze  of  brilliant  quality 
over  which  is  a  decoration  of  floral  panels,  birds, 
finely  executed  border  designs  and  a  Chinese  poem,  all 
in  gilding.  Height,  18  inches. 

447 —  Decorated  Porcelain  Vase  ( Cli'ien-lung ) 

Fashioned  in  the  shape  of  two  upright  carp.  Deco¬ 
rated  in  underglaze  blue  and  peachbloom  tint. 

Height,  17 y2  inches. 


Second  Afternoon 


418 — Powder-blue  Club-shaped  Vase  ( K'ang-hsi ) 

Invested  with  a  monochrome  glaze  of  brilliant  maza¬ 
rine  blue  known  as  powder-blue,  and  ornamented  with 
six  reserve  panels  in  which  are  depicted  fabulous 
monsters,  a  carp  rising  from  the  sea  and  landscape 
views,  all  finely  painted  in  the  brilliant  enamel  colors 
of  the  famille  rerte.  Underneath  the  foot,  within  a 
double  circle,  is  a  six-character  mark  of  the  K’ang-hsi 
period  penciled  in  underglaze  blue. 


Height,  18%  inches. 


Second  Afternoon 


449 — Famille  Verte  Vase  ( K’ang-hsi ) 

Tall  quadrilateral  shape,  with  trumpet  neck.  It  is 
invested  with  a  translucent  yellow  glaze  applied  so 
as  to  leave  the  edge  white.  Each  of  the  four  sides  is 
decorated  with  the  prunus  blossoms,  tree  peonies,  lotus 
and  chrysanthemums,  “the  flowers  of  the  four  sea¬ 
sons,”  rockeries  and  butterflies,  artistically  executed 
in  reserve  and  enameled  in  brilliant  green,  aubergine, 
turquoise-blue  and  white.  On  the  neck,  similarly 
treated,  are  sprays  of  tree  peonies.  Underneath  the 
foot,  in  an  indented  panel,  is  a  six-character  mark  of 
Cheng-hua  in  underglaze  blue. 

Height,  19%  inches. 

( Illustrated ) 


450 — Five-color  Vase  ( K^amg-hsi ) 

Tall  quadrilateral  shape,  with  trumpet  neck.  Richly 
embellished  with  the  flowers  of  the  four  seasons,  birds, 
butterflies  and  rockeries,  beautifully  painted  in  the 
brilliant  enamel  colors  of  the  famille  verte.  Under¬ 
neath  the  foot  in  an  indented  panel  is  a  six-character 
mark  of  the  K’ang-hsi  period. 

Height,  19%  inches. 

( Illustrated ) 


451- — Large  Famille  Verte  Vase  ( K’ang-hsi ) 

Tall  quadrilateral  shape,  with  broad  trumpet-shaped 
neck.  Each  of  the  four  sides  is  elaborately  decorated 
with  the  prunus  in  blossom,  tree  peonies,  lotus  and 
chrysanthemums,  the  “flowers  of  the  four  seasons,” 
rockeries  and  butterflies,  painted  in  aubergine,  yellow, 
coral  red,  green  and  brilliant  blue.  The  neck  is  simi¬ 
larly  embellished.  Underneath  the  foot  is  an  indented 
panel  with  a  six-character  mark  of  Cheng-hua. 

Height,  29%  inches. 


( Illustrated ) 


Second  Afternoon 


452 — Tall  Cylindrical  Vase  ( Cli'ien-lung ) 

Richly  embellished  with  an  elaborate  decoration  de¬ 
picting  an  Imperial  ceremonial  scene,  gardens  and 
blooming  trees  and  vines,  finely  painted  in  brilliant 
enamel  colors.  Underneath  the  foot,  which  is  coated 
with  robin’s-egg  blue,  is  a  seal  mark  of  the  period  pen¬ 
ciled  in  red. 


Height,  18  inches. 


Second  Afternoon 


458 — Tall  Oviform  Vase  (  Yung  Cheng ) 

Coated  with  an  ivory-white  crackle  glaze  and  deco¬ 
rated  with  figures  of  dignitaries  and  children  penciled 
in  coral  red  and  black. 

Height,  20%  inches. 


454 — Large  Decorated  Vase 

Tall  quadrilateral  shape,  with  spreading  base  and  neck 
on  which  are  two  dragon  handles  modeled  in  relief  and 
glazed  in  green.  It  is  invested  with  an  Imperial  yel¬ 
low  glaze  applied  so  as  to  leave  the  edges  white,  and  is 
richly  and  profusely  embellished  with  flowers,  birds 
and  rockery,  painted  in  brilliant  enamel  colors  and 
underglaze  blue. 

Height,  24%  inches. 


455 — Powder-blue  Vase  ( K’ang-hsi ) 

Tall  oviform,  with  short  tubular  neck  which  flares  at 
the  mouth.  Enameled  with  a  powder-blue  glaze  of 
even  quality  over  which  is  a  decoration  penciled  in 
gold  of  an  Emperor  and  the  God  of  Wisdom.  Six- 
character  mark  of  the  period. 

Height,  18  inches. 


456 — Large  Globular  Jar  ( Ch’ien-lung ) 

Of  dense  sonorous  porcelain  and  with  broad  mouth. 
Embellished  with  a  beautifully  painted  decoration  of 
flowers  amid  a  profusion  of  leafy  scrolls,  various 
Buddhistic  symbols  and  border  designs,  all  of  which 
are  executed  in  fine  tones  of  coral  red,  leaf  green,  yel¬ 
low,  purple  and  blue.  Has  tall  barrel-shaped  teak- 
wood  stand. 


Height,  13%  inches;  diameter,  18  inches. 


Second  Afternoon 


457 — Pair  Imperial  Large  Vases  ( Ch'ien-lung ) 

Bottle  shape,  with  handles  of  hamboo  design.  Richly 
and  profusely  decorated  with  phoenixes,  five-clawed 
dragons,  the  emblems  of  the  Emperor  and  Empress, 
cloud  forms,  fire  emblems,  the  effulgent  pearl  and  wave 
designs,  beautifully  painted  in  brilliant  enamel  colors, 
enriched  by  gilding.  This  embellishment  is  further 
enhanced  by  numerous  bands  and  borders  of  the  sym¬ 
bolical  bats,  butterflies,  fret  and  diaper  designs,  and 
reserves  of  ornaments,  birds  and  flowers.  Under¬ 
neath  the  foot  is  a  six-character  mark  of  the  period. 

Height,  21%  inches;  diameter,  15 y2  inches. 


Second  Afternoon 


DECORATED  WALL  PANELS  AND  COROMAN¬ 
DEL  SCREENS 

458 —  Teakwood  Bric-a-brac  Cabinet 

Finely  carved.  Has  irregular-shaped  shelves,  and  one 
enclosure. 

Height,  2  feet  7 y2  inches;  width,  2  feet  1  y2  inches. 

459 —  Elaborate  Wall  Panel  ( Ch'ien-lung ) 

Of  carved  cinnabar  lacquer,  in  design  of  a  basket  of 
flowers,  the  flowers  carved  in  bold  relief  and  lacquered 
in  tones  of  green  and  red.  A  further  embellishment 
consists  of  an  inserted  panel  of  cloisonne  enamel  de¬ 
picting  a  legendary  subject,  and  numerous  gilded  and 
enameled  Buddhistic  symbols  of  Happy  Augury. 

Height,  2  feet  9  inches;  width,  2  feet  7  inches. 

460 —  Carved  and  Lacquered  Panel  (Ming) 

The  obverse  and  reverse  decorated  with  various  orna¬ 
ments,  utensils  and  flowers  in  low  tones  of  red,  green 
and  ivory-white. 

Length,  20  inches;  width,  1 3 y2  inches. 

461 —  Small  Carved  and  Lacquered  Panel  (Ming) 
Decorated  with  sprays  of  large  tree-peonies  in  natural¬ 
istic  colors. 

Height,  32  inches;  width,  23  inches. 

462 —  Carved  and  Lacquered  Coromandel  Panel  (Ming) 
Beautifully  embellished  in  lacquers  of  low  tones  and 
gilding,  with  vase  of  flowers,  the  sacred  elephant,  a 
Koro  and  symbols.  Side  borders  of  floral  scrolls  to 
harmonize. 

Height,  52  inches;  width,  19y2  inches. 

463 —  Coromandel  Carved  and  Lacquered  Panel  (Ming) 
Embellished  with  a  view  of  a  Chinese  famous  historic 
resort— Shi  Hu,  on  West  Lakes,  near  Shanghai. 

Height,  68  inches;  width,  20ys  inches. 


Second  Afternoon 


464 —  Set  of  Four  Upright  Waul  Panels  ( Ch’ien-lung ) 
Black  lacquer,  embellished  with  birds,  animals,  mag¬ 
nolia  in  blossom,  tree  peonies  and  other  designs,  exe¬ 
cuted  in  mother-of-pearl  inlays,  tinted  ivory  and  raised 
pigments. 

Each :  Height,  4  feet  2  inches;  width,  14y3  inches. 

465 —  Four  Upright  Wall  Panels  ( Cli’ien-lung ) 

Black  lacquer,  beautifully  embellished  with  birds,  flow¬ 
ers  and  blooming  trees,  skilfully  executed  in  mother- 
of-pearl  tinted  ivory  and  wood,  worked  in  relief. 

Each :  Height,  6  feet  2  inches;  width,  14y3  inches. 


466 — Teakwood  and  Porcelain  Screen  (Ch’ien-lung) 

Composed  of  eight  folds  carved  in  openwork,  and  each 
with  six  inserted  panels  of  porcelain,  all  of  which  are 
decorated  with  landscapes  and  figure  subjects  finely 
painted  in  delicately  combined  enamel  colors. 

Height,  4  feet  1  inch;  length,  6  feet,  3  inches. 

( Illustrated ) 


467 — Carved  Coromandel  Screen  (K’ang-hsi) 

Embellished  with  a  view  of  the  Chinese  immortals  as¬ 
sembled  in  the  Taoist  Paradise,  skilfully  carved  and 
lacquered  in  low  tones  on  a  black  ground.  A  border 
at  the  top  shows  various  Buddhistic  symbols,  and  the 
lower  border  is  composed  of  sprays  of  the  flowers 
of  the  four  seasons.  On  the  reverse  are  phoenixes, 
cranes  and  other  birds,  and  magnolia  and  plum  in 
blossom,  tree  peonies  and  chrysanthemums,  all  carved 
and  treated  in  low  tones  of  lacquer. 

Height,  5  feet  3  inches;  length,  13  feet  2  inches. 

( Illustrated ) 


'l'EAK  WU01) 


PORCELAIN  SCREES 


IMPORTANT  IARVHI)  AM)  I. At  gi'KHKI)  Sl'RKHN 


V’KD  AND  !.ACQl  i:i 


OliltM  VNDKI  I’ A I. 


Second  Afternoon 


468 — Important  Carved  Coromandel  Screen  ( Cln'ien - 
lung ) 

In  twelve  leaves  or  panels,  and  forms  a  complete 
picture.  Made  of  wood,  skilfully  carved  and  lacquered 
in  richly  combined  colors.  Scheme  of  decoration  is 
the  depicting  of  a  visit  of  a  royal  personage  and  his 
retinue  to  the  Emperor,  who  is  seen  sitting  in  an 
anteroom  of  the  Summer  Palace.  Numerous  figures 
of  warriors,  equestrians  and  other  figures  are  ren¬ 
dered  with  artistic  precision.  The  top  and  lower 
panels  of  eacli  leaf  are  ornamented  with  various  flowers 
and  ornaments  executed  in  beautifully  combined  colors. 
The  reverse  is  completely  covered  with  magnolia, 
plum  and  tree  peonies  in  full  bloom,  and  phoenixes  and 
other  richly  plumaged  birds. 

Height,  6  feet  8  inches;  length,  10  feet  10  inches. 

( Illustrated ) 


ANCIENT  CHINESE  PAINTINGS 

469 — Landscape,  Garden  and  Household  Scenes 

A  rare  collection  in  a  portfolio  painted  by  the  re¬ 
nowned  artist  Tsiu  Yao  Chi i  of  the  Yuan  Dynasty, 
who  was  a  contemporary  of  Chiao  Tze  Ugong.  His 
art  is  of  a  rare  and  polished  type  and  the  colors  he 
used  was  a  secret  that  has  since  been  lost.  Attention 
is  directed  to  the  freshness  and  brilliancy  of  the 
colors,  notwithstanding  the  centuries  through  which 
they  have  passed.  In  grace  and  artistic  taste  this 
artist  is  unsurpassed,  and  in  the  whole  ten  beautiful 
paintings,  the  most  commonplace  scenes  are  invested 
with  a  beauty  and  enchantment  that  is  rare  to  find. 

Size,  14  inches  by  14 yz  inches. 


Second  Afternoon 


470 — Lohan  Portfolio 

A  portfolio  of  the  eighteen  Buddhistic  Worthies  by 
a  noted  artist  of  the  Yuan  Dynasty.  It  is  executed  in 
a  pale  black,  giving  a  shadowy  appearance  to  the 
figures. 


471 — Hand  Scroll:  Horses  at  their  Feeding  Troughs 
Painted  on  silk  by  Cbiao  Tze  Ugong,  the  famous 
artist  of  the  Sung  Period.  The  scroll  contains  six 
horses  feeding,  and  their  attendants.  This  artist 
made  a  specialty  of  painting  horses,  and  as  a  writer 
and  painter  he  enjoys  the  ividest  renown. 

Chiao  Tze  Ugong  may  he  called  “Tlie  Artist  of  the  Sung  Dy¬ 
nasty,”  and  his  fame  in  art  and  letters  is  known  throughout 
the  land.  His  scenic  pictures  of  flowers  and  birds  were  executed 
with  greatest  facility  and  ease,  but  he  excels  and  is  noted  for 
his  paintings  of  horses. 


472 — Hand  Scroll:  Landscape  along  the  Yangtse 

Under  the  title  of  “Ten  Thousand  lis  along  the  Yang¬ 
tse,”  Wang  Kung  Mong,  a  noted  artist  of  the  Yuan 
Period,  has  in  this  masterpiece  depicted  a  stretch  of 
country  on  the  bank  of  the  Yangtse  beginning  from 
the  mountain  fastness  of  Szechuan  until  it  reaches 
the  plains  of  Hupeh.  It  is  an  interesting  example,  as 
besides  the  boldness  and  artistic  conception  of  the 
painting,  it  is  a  very  old  and  most  authentic  master¬ 
piece  of  this  great  artist,  who  was  the  predecessor  of 
a  school  of  Chinese  art  which  produced  many  noted 
artists  in  later  times. 


Length,  24  feet;  width,  13y3  inches. 


Second  Afternoon 


473 — Hand  Scroll:  Historical  Female  Personages 

Painted  on  silk  by  a  great  master  of  the  Ming  Dy¬ 
nasty,  named  Tsan  Ying  (Sliik  Chuk),  who  was  famed 
for  his  portraiture,  and  in  that  specialty  he  excelled 
other  renowned  masters  of  the  past. 

This  scroll  has  special  interest,  in  that  it  presents 
some  scores  of  women  whose  merit  in  literature,  science, 
art  and  in  almost  every  other  avenue  open  to  man, 
has  been  duly  recognized  in  Chinese  history.  As  these 
female  personages  existed  centuries  ago,  it  shows  that 
China  then  gave  due  recognition  to  the  rights  of 
womankind.  Another  item  of  note  is  that  the  person¬ 
ages  portrayed  are  wearing  costumes  worn  in  the  past 
by  Chinese  women,  and  although  dimmed  by  the  mist 
of  thousands  of  years,  their  grace  and  perfection  of 
design  offer  valuable  suggestions  to  the  women  of  the 
present  time. 

474  H am-g i n g  Scroll:  Autumn  Scenery 

Painted  on  silk  bv  Lan  Ying.  This  painting  depicts 
mountains  in  bold  relief  in  the  background,  through 
a  ravine  of  which  flows  a  stream,  with  trees,  foliage 
and  villas  on  its  banks. 

Length,  8  feet;  width,  25 %  inches. 

Lan  Ying,  a  great  artist  of  the  Ming  Dynasty,  was  noted  for 
his  hold  departure  from  the  pre-existing  schools  of  Chinese  art. 
He  was  the  first  to  admire  European  art,  and  he  combined  the 
artistic  conceptions  from  abroad  with  his  naturally  bold  and 
antique  style,  forming  a  distinct  school  of  his  own  which  awak¬ 
ened  much  criticism  from  his  contemporaries. 

475 — Hanging  Scroll 

Painted  on  silk  by  Lan  Ying,  with  mountains  in  bold 
relief  in  background,  with  villas  on  the  bank  of  a 
stream  below. 


Length,  8  feet;  width,  25%  inches. 


Second  Afternoon 


475a — Hanging  Scroll:  Autumn  Scenery 

Painted  on  silk  by  Lan  Ying.  This  great  artist  won 
his  renown  by  being  the  first  Chinese  artist  who  ap¬ 
preciated  foreign  art  from  Europe,  and  endeavored 
to  combine  their  excellencies  with  Chinese  art.  In  this 
and  the  following  painting  one  can  see  the  evident  in¬ 
fusion  of  European  influence  which  gives  a  most  happy 
combination. 

This  painting  depicts  mountains  in  the  background 
with  its  cascades,  with  a  villa,  trees  and  a  rustic 
bridge  below. 

Length,  8  feet;  width,  25%  inches. 

475b — Hanging  Scroll 

Painted  on  silk  by  Lan  Ying.  With  mountains  in  bold 
relief  in  the  background  with  cascades  and  trees,  and 
below  is  a  beautifully  executed  rural  scene  with  its 
deciduous  trees  clothed  in  autumn  leaves. 

Length,  8  feet;  width,  25%  inches. 

476 — Hanging  Scroll 

Painted  on  silk,  by  Yuan  Nam  Tin,  an  artist  of  the 
beginning  of  the  Tsing  Dynasty.  Called  a  central 
piece,  because  it  is  customary  to  place  it  in  the  center 
of  the  wall  opposite  the  entrance  to  a  Chinese  parlor. 
It  has  the  three  symbols  of  Longevity  (Cypress), 
Rank  (Crane)  and  Wealth  (Peonies)  beautifully  and 
gracefully  executed. 

Length,  7  feet;  width,  26%  inches. 


476a — Hanging  Scroll:  Autumnal  River  Scene 

Painted  on  silk  bv  Hsieh  Shi  Chun,  a  Premier  of  the 
Ming  Dynasty.  A  very  old  piece,  beautifully  executed 
depicting  a  river  with  a  boat,  and  along  its  banks 
rocks  and  trees. 

Length,  7  feet  2  inches;  width,  25%  inches. 


Second  Afternoon 


477—  Mountains  and  Rivers  Unlimited 

A  series  of  twelve  hanging  scrolls  on  silk  by  the  great 
master,  Wan  Ching  Ming,  a  noted  artist  of  the  Ming 
Dynasty,  who  was  inspired  by  the  works  of  Kwok 
Hsi  of  the  Tong  Dynasty  and  Chiao  Tze  Ugong  of 
the  Sung  Dynasty,  whose  specialty  was  snow  scenes. 

Length,  6  feet  2  inches;  width,  24%  inches. 

Wan  Ching  Ming  in  his  masterpieces  often  excelled  his  prede¬ 
cessors  in  the  fidelity  and  polish  of  his  art.  This  series  of  twelve 
scrolls  are  one  continuous  scene  of  a  most  picturesque  and 
diversified  section  of  the  country,  embracing  mountains,  valleys, 
streams,  bridges,  villages  and  their  inhabitants,  and  picturing 
Chinese  life  and  surroundings  with  the  grace,  exquisite  color 
combination  and  taste  of  a  true  artist.  Throughout  the  series 
one  finds  a  harmonious  scene  from  the  mountain  tops  to  the 
shores  of  the  river,  the  whole  being  enhanced  by  beautiful  trees, 
foliage  and  boats,  and  farms  with  their  domestic  animals,  most 
happily  introduced. 

478—  -Chinese  Painting  on  Silk 

By  a  master  of  the  Ming  Dynasty.  A  pavilion,  in 
the  mountains,  on  which  are  standing  dignitaries  and 
children. 

479 —  Chinese  Painting  on  Silk 

By  a  master  of  the  Ming  Dynasty.  Mountains,  a  pine 
grove,  and  equestrian  and  other  figures  fording  a 
stream. 

480 —  Chinese  Painting  on  Silk 

By  Wang-Chao,  an  artist  of  the  Ch’ien-lung  period. 
A  priest  and  a  tiger  seated  beneath  a  willow  tree. 

-481 — Chinese  Painting  on  Silk 

Tree  peonies,  prunus  blossoms,  palms  and  rockeries 
beautifully  executed. 

482^-Chinese  Painting  on  Silk 

By  an  artist  of  the  Iv’ang-hsi  period.  An  Emperor 
and  his  retinue  in  landscape. 


Second  Afternoon 


483 —  Chinese  Painting  on  Silk 

An  Emperor  and  attendants.  By  Pen-Yuan  Feng. 

484 —  Chinese  Painting  on  Silk 

A  mountainous  landscape  by  an  artist  of  the  Ming 
Dynasty,  Chao-shih-Hen. 

485 —  Chinese  Painting  on  Silk 

By  Shi-Tien-Shen-Chow,  a  master  of  the  Ch’ien-lung 
period.  Landscape,  pavilion,  figures  and  pagoda,  after 
Wu-Tao-tzu  of  the  Sung  Dynasty. 

486 —  Chinese  Painting  on  Silk 

By  an  artist  of  the  Ming  Dynasty.  Landscape  and 
equestrian  figures  painted  in  low  tones. 

487 —  Chinese  Painting:  Hanging  Scroll 

By  Yu-Feng,  a  master  of  the  Iv’ang-hsi  period.  A 
pheasant,  tree  peonies  and  bamboo  finely  painted  in 
low  tones. 

488 —  Chinese  Painting  :  Hanging  Scroll 

Painted  on  silk  by  Chuiu-Ying,  an  artist  of  the  K’ang- 
hsi  period.  A  retreat  in  the  mountains,  and  river 
view,  showing  a  palace  with  figures  on  a  pavilion 
overlooking  a  lake  on  which  are  boating  parties  in 
gaily  decorated  barges.  In  the  foreground  an  im¬ 
perial  traveling  party  with  retinue. 

489 —  Chinese  Painting  on  Paper 

By  Nan-Sha,  an  artist  of  the  K’ang-hsi  period.  Tree 
peonies  and  birds  in  fine  tones. 

490 —  Chinese  Painting  on  Silk 

By  Tang-I,  an  artist  of  the  Ch’ien-lung  period.  Lotus 
in  bloom  and  a  mandarin  duck  in  flight. 


Second  Afternoon 


491 —  Chinese  Painting  on  Silk 

By  Pan  Yuan,  a  master  of  the  Ming  Dynasty.  A 
mountain  retreat  by  a  lake,  finely  executed  in  low 
tones. 

492 —  Chinese  Painting  on  Paper 

By  an  artist  of  the  Ch’ien-lung  period  in  the  manner 
of  Chang-Chen.  A  water  buffalo,  tethered. 

498 — Chinese  Painting  on  Silk 

By  Chien-Tang-tai-Chien,  an  artist  of  the  K’ang-hsi 
period.  Garden  scene,  with  figures  of  a  hermit  and  a 
mandarin,  rocky  cliffs  and  pine  trees,  executed  in  low 
tones. 

494 —  Chinese  Painting  on  Silk 

By  Chen-Chin,  an  artist  of  the  Ch’ien-lung  period. 
Mountainous  landscape  and  hunting  scene. 

495 —  Chinese  Painting  on  Silk 

Mandarin  ladies  by  a  lakeside,  some  seated  and  playing 
on  musical  instruments  and  others  preparing  tea. 


AMERICAN  ART  ASSOCIATION, 

Managers. 


THOMAS  E.  KIRBY, 

Auctioneer. 


FOR  INHERITANCE  TAX 


AND  OTHER  PURPOSES 

The  American  art  association 


IS  EXCEPTIONALLY  WELL  EQUIPPED 
TO  FURNISH 


INTELLIGENT  APPRAISEMENTS 

OF 


ART  AND  LITERARY  PROPERTY 
JEWELS  AND  PERSONAL  EFFECTS  OF  EVERY 
DESCRIPTION 


IN  CASES  WHERE 

PUBLIC  SALES  ARE  EFFECTED 

A  NOMINAL  CHARGE  ONLY  WILL  BE  MADE 


THE  AMERICAN  ART  ASSOCIATION 

MADISON  SQUARE  SOUTH 
NEW  YORK 


TELEPHONE.  3346  GRAM  ERG  V 


COMPOSITION.  PRESSWORK 
AND  BINDING  BY 


fiE 


xAV^to! 


Date  Due 

Jul  26*32 

«g  *38. 

IF 

1  -  1 

— 

1 

L.  B.  Cat.  No.  1137 

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.  ,.p 


709.51  A512H 

112573 

Hsing 

- Illustrated- 

Catalogue, . . 

1  ^  J r'f  a* 

709. ?1  AJ12H  112575 


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saiuvuan  AiisaaAiNn  3xno 


